^1ARC  Y's 


SCI0PT1C0N  Ma.\ 


FIFTH  EDITION,  REVISED, 


PHILADELPHIA  : 

PUBLISHED  BY  L.  J.  MARCY,  1340  CHEATS  I 

1874. 


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'  TttfisQe:  CATALOG 

Ar  &«?< . 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/sciopticonmanualOOmarc_O 


THE 


SCIOPTICON  MANUAL. 

EXPLAINING 


MARCY’S  NEW  MAGIC  LANTERN, 

AND  LIGHT, 

INCLUDING 

MAGIC  LANTERN  OPTICS,  EXPERIMENTS,  PHOTOGRAPHING 
AND  COLORING  SLIDES,  ETC. 


By  L.  J.  MAECY,  Optician, 

No.  1340  CHESTNUT  STREET,  PHILADELPHIA,  PENNA. 


FIFTH  EDITION. 


SHERMAN  &  CO.,  PRINTERS. 
1  874. 


Entered,  according  to  Act  of  Congress,  in  the  year  1874, 

By  L.  J.  MAECY, 

In  the  Office  of  the  Librarian  of  Congress,  at  Washington,  D.  C. 


PREFACE. 


Visible  illustrations  are  so  highly  esteemed  among 
educationalists  of  the  present  day,  that  the  announce¬ 
ment  that  a  greatly  improved  form  of  Magic  Lantern  has 
made  its  appearance  is  very  favorably  received. 

Between  a  desire  for  such  an  instrument,  and  the  lack 
of  definite  information  concerning  it,  many  very  natu¬ 
rally  manifest  both  their  interest  and  their  caution  by 
searching  letters  of  inquiry.  The  inventor  has  en¬ 
deavored,  in  hasty  epistles,  to  state  all  the  possibilities 
and  impossibilities  of  the  Sciopticon,  and  of  lights,  lenses, 
lantern  slides,  and  tanks;  hut  he  finds  it  increasingly 
difficult  to  give  each  correspondent,  individually,  a  full 
philosophical  exposition.  For  such,  therefore  as  desire 
a  more  detailed  account  than  can  be  given  in  a  hasty 
letter,  or  than  is  contained  in  the  circular,  which  it  is 
always  a  pleasure  to  forward  on  application,  a  Sciopticon 
Manual  has  been  prepared,  to  serve  as  a  guide-book  to 


IV 


PREFACE. 


the  various  interesting  portions  of  the  Magic  Lantern 
field  in  general,  as  well  as  to  the  Sciopticon  in  particular. 

It  treats  of  the  Optical  Image — without  a  lens,  with 
a  lens,  in  the  camera  obscura,  in  the  eye,  in  the  photo¬ 
graphic  camera,  and  on  the  screen ;  of  the  peculiarities 
of  lenses,  and  the  corrections  required  by  lenses ;  of  the 
peculiarities  of  the  Sciopticon,  and  its  construction  and 
management ;  of  dissolving  views,  phantasmagoria,  and 
the  ghost ;  of  lantern  slides  in  all  their  variety  ;  of  photo¬ 
graphing  slides  by  the  wet-plate  process,  by  the  dry-plate 
process,  by  Marcy’s  Photographic  Printing  Apparatus, 
by  the  Sciopticon,  and  other  processes  ;  of  how  to  paint 
slides,  and  of  how  to  perform  chemical  experiments,  &c. ; 
to  which  is  appended  a  catalogue,  arranged  to  assist 
purchasers  in  making  satisfactory  selections. 

Thus  this  Manual  may  take  the  place  of  private  cor¬ 
respondence  to  a  considerable  extent,  allowing  in  let¬ 
ters  more  space  for  business,  and  for  an  interchange  of 
new  ideas,  with  a  view  of  making  the  Manual  in  subse¬ 
quent  editions  more  interesting,  and  the  Sciopticon  more 
useful. 

It  was  at  first  my  intention  to  give  space  to  the  sub¬ 
ject  of  chemical  lights,  but  reflecting  that  in  this  direc¬ 
tion  there  is  no  lack  of  printed  matter,  and  that  the  in¬ 
terest  felt  in  the  Sciopticon  is  owing  mainly  to  its  giving 


PREFACE. 


V 


good  results  with  little  trouble,  I  have  concluded  to  omit 
the  gas,  which  would  increase  the  hulk  of  the  Manual, 
without  a  corresponding  addition  to  its  usefulness. 


PKEFACE  TO  FIFTH  EDITION. 

The  lime  light,  in  an  improved  form,  having  been  in¬ 
troduced  into  the  Sciopticon,  it  has  become  expedient  to 
append  to  the  Sciopticon  Manual,  a  description  of  the 
apparatus  and  directions  for  its  use. 

The  demand  for  Lantern  projections  is  steadily  on  the 
increase.  A  fine  photograph  (a,nd  what  can  be  finer?) 
projected  upon  a  large  screen,  before  a  thousand  spec¬ 
tators,  gives,  it  is  safe  to  say,  ten  thousand  times  the 
satisfaction  that  one  alone  with  his  stereoscope  receives 
from  it.  The  appreciation  is  cumulative.  “  The  more 
the  merrier,”  is  the  philosophy  of  it. 

The  Sciopticon  with  its  oil  lamp,  rather  than  with  its 
lime  light,  continues  to  be  the  choice  of  the  many,  be¬ 
cause  its  use  is  convenient  and  inexpensive.  There  are 
purposes  and  occasions  however  for  which  the  lime  light 
is  a  necessity.  The  gas  therefore  has  now  received  its 
full  share  of  attention.  Much  of  the  added  matter  is 
intended  to  assist  those  who  have  a  Sciopticon,  to  pro¬ 
vide  themselves  with  interesting  objects  for  exhibition, 
without  resort  to  a  large  assortment  of  exoensive  slides. 


CONTENTS  OF  MANUAL, 


Introduction, .  xi 

CHAPTER  I. 

The  Camera  Obscura, .  9 

The  Inverted  Image, .  10 

Color  and  Shading, .  10 

Motion, .  10 

Size, .  10 

Size  on  the  Retina, .  11 

Size  in  the  Photographic  Camera,  1 1 

Magnified  Image, .  12 

Inferences,.* .  12 

Experimental  Verification, .  13 

Indistinctness, .  13 

Convex  Lens,  . .  13 

Stops, .  14 


CHAPTER  II. 

The  Corrections  required  by 


Lenses, .  14 

The  Form  of  Lenses, .  15 

Pencils  of  Rays, .  15 

Spherical  Aberration, . .  16 

Distortion, .  17 

Curved  Field, .  18 

Chromatic  Aberration, .  19 

Unequal  illumination, .  20 

Corrections  in  the  Eye, .  20 

The  Landscape  Lens, .  21 

The  Portrait  Objective, .  22 


CHAPTER  III. 


The  Construction  of  the  Sciopti- 

con, .  24 

No  Loss  of  Light  from  using  an 
Objective  of  Low  Power  with 

a  Concentrated  Light, .  24 

Advantages  of  Concentrated  Light  25 

The  Condenser, .  26 

The  Reflector,  . 26 

Various  Modes  of  Lantern  Illu¬ 
mination, .  27 

The  Size  proper  for  the  Illumin¬ 
ated  Disc, .  28 

Analysis  of  the  Sciopticon, .  29 

Packing, .  32 

Rules  for  Operating  the  Sciopti¬ 
con  .  33 

Recapitulation,  . .  36 

The  Screen, . . .  37 

Dissolving  Views, .  39 

Directions  for  Produciug  the  Dis¬ 
solving  Effect, .  41 

The  Phantasmagoria, .  44 

Ancient  Magicians, .  45 

CHAPTER  IV. 

Picture  Slides, .  50 

The  Standard  Size  for  Lantern 

Slides,  . 51 

The  Sealed  Picture, .  52 

Statuary, . .  53 


Vlll 


CONTENTS  OF  MANUAL. 


The  Slip  Slide, . 

The  Lever  Slide, . 

Revolving  Figures, . 

The  Chromatrope, . 

Eidotrope, . 

Moving  Waters, . 

Long  Slides, . 

Dioramic  Painting,  with  Moving 

Figures,  . 

The  Ghost, . 

The  Tank, . 

Precautions  about  Slides, . 

CHAPTER  Y. 

PHOTOGRAPHY. 

Glass  Positives  for  the  Magic 

Lantern, . 

Dry  Plate  Process, . 

Collodio-Chloride  Process, . 

Marcy’s  Wet  Plate  Process, . 

The  Sciopticon  Process . 

Woodbury  Photo-Relief  Slides,.. 

CHAPTER  VI. 

COLORING  SLIDES. 

Water  Colors,  etc., . 

Statuary, . 

CHAPTER  VII. 

CHEMICAL  EXPERIMENTS. 

Chemical  Reactions, . 

Crystallizations, . 

Miscellaneous  Experiments, . 

CHAPTER  VIII. 

DESCRIPTIVE  LECTURES. 

Bible  Pictures, . 

Bible  Lands, . . 

Views  in  all  parts  of  the  World, 

Nursery  Tales, . 

Composition  Pictures, . 

Scientific  Slides, . 


CHAPTER  IX. 

THE  SCIOPTICON  AND  ITS  USES. 

PAGE 

Description  of  the  Sciopticon,....  125 
Magic  Lantern  from  1650  to  1870,  126 

Travelling  by  Magic, .  128 

Sciopticon  for  Sunday-Schools,.  130 
Science  at  Home, .  130 

CHAPTER  X. 

THE  TEACHER  HIS  OWN  ARTIST. 


A  Process  of  Drawing  and  Paint¬ 
ing  Magic  Lantern  Slides, .  135 

List  of  Apparatus  and  Materials,  135 

A  New  Copying  Camera, .  139 

Transfer  Pictures,  etc., .  142 

CHAPTER  XI. 

NOVELTIES. 

Novelties  in  Apparatus, . .  144 

A  New  Departure, . .  146 

Dancing  Skeleton,  etc., .  147 

Effect  Slides .  149 

CHAPTER  XII. 

THE  LIME  LIGHT. 

Flame  Ill  umination . .  151 

Alcohol  Burner, .  152 

House  Gas  Burner, .  153 

Drummond  Light,  .  154 

Mixed  Jet, .  155 

Marcy’s  Triple  Jet, .  158 

Sciopticon  with  Triple  Jet, .  160 

Peculiar  advantages  of  the  Triple 

Jet, .  161 

Dissolving  Cock, .  163 

Preparation  of  Oxygen  Gas, .  164 

Preparation  of  Hydrogen  Gas,...  166 

Pressure  Boards, .  169 

Edgerton’s  Self-condensing  Gas 

Cylinders, .  170 

Multum  in  Parvo, .  173 

Microscopes  for  Projection, .  174 

Magic  Lantern  Kaleidoscope,  ...  177 
Oxy-hydrogen  Polariscope, .  178 


PAGE 

54 

55 

55 

56 

57 

57 

58 

58 

58 

59 

60 

61 

67 

71 

72 

74 

76 

78 

82 

85 

86 

87 

95 

103 

119 

119 

121 

123 


CONTENTS  OF  CATALOGUE. 


PAGE 


Notice  to  Purchasers, .  3 

The  Sciopticon  and  Dissolving 

View  Apparatus, .  5 

Marcy’s  Photographic  Printing 
Apparatus, .  6 


MAGIC  LANTERN  SLIDES. 


Class 

I.  — Old  Testament  Illustrations,  7 

II.  — New  Testament  Illustra¬ 
tions,  .  8 

III.  — Holy  Land  and  Egypt, .  9 

IV.  — Ancient  Greece  and  Rome,  11 

V.  — Complete  Illustration  to  the 

Text  of  the  Holy  Bible, .  12 

VI.  — Views  of  Interest  in  Differ¬ 
ent  Parts  of  the  World, .  17 

VII.  — American  History, .  20 

VIII.  — Franco-German  War,....  21 

IX.  — Views  In  Sets,  conveying 

Moral  Lessons, .  22 

1.  The  Pilgrim’s  Process, .  22 

2.  Christiana  and  her  Children,  22 

3.  The  Drunkard’s  Progress, ...  22 

4.  The  Bottle  (Cruikshank),  ..  23 

5.  The  Bottle  (Comic), .  23 

(i 


PAGE 

6.  Stomach  of  the  Drunkard  in 

its  Different  Stages  of  Dis¬ 
ease,  .  23 

7.  The  Gambler’s  Career, .  23 

8.  The  Ten  Commandments,...  23 

9.  The  Lord’s  Prayer, .  24 

10.  Four  Scenes  from  the  Life 

of  a  Country  Boy, .  24 

11.  Shakspeare’s  Seven  Ages  of 

Man, .  24 

12  Masonic,  and  other  Lodge 
Pictures, .  24 

13.  Tam  O’Shanter, .  24 

14.  New  Tale  of  a  Tub, .  24 

15.  Renard,  the  Sly  Fox, .  25 

16.  Fables  of  Lafontaine, .  25 

17.  The  Crusaders,  .  25 

18.  The  Ill-Fated  Ship, .  25 

19.  Schiller’s  Song  of  the  Bell,  25 

20.  Rip  Van  Winkle, .  26 

Class 

X —  Miscellaneous  Pictures .  26 

XI —  Dissolving  Views, .  28 

XII —  Chromatropes,  &c, .  30 

XIII —  Original  Leaf  Designs,...  32 

XIV —  Statuary  and  Bas  Reliefs,..  32 

XV —  Select  Painted  Comic  Slip 

Slides, .  33 


X 


CONTENTS  OF  CATALOGUE. 


XVI —  Paintings  with  Levers, 

Comic, . 34 

XVII —  Dioramic  Paintings, . 

with  moving  Figures, .  35 

XVIII — Paintings  illustrating 

Nursery  Tales, .  35 

XIX —  Fine  Engravings, .  36 

SCIENTIFIC  DEPARTMENT. 
Class 

XX —  Mammalia, .  37 

XXI—  Birds, .  38 

XXII —  Reptiles  and  Fishes, .  38 

XXIII— Insects, .  39 

XXIV —  Arachnida,  Crustacea,  et 

Csetera, .  39 

XXV —  Botany, .  40 


XXVI — Flowers  and  Plants, .  41 

XXVII — Physical  Geography, ...  42 

XXVIII — Astronomy, .  42 

XXIX —  Geology, .  44 

XXX —  Natural  Phenomenon, .  45 

XXXI —  Anatomy  and  Physiology  45 
XXXII — Microscopic  Anatomy,  45 

XXXIII — Optics, .  46 

XXXIV — The  Microscope  and 

its  Revelations, .  46 

XXXV — C  ry  stall  ography, .  47 

XXXVI — Spectrum  Analysis, ....  47 

XXXVII — Statuary  and  Bas 

Reliefs, .  49 

XXXVIII — American  Views,...  .  50 

XXXIX — Hymns, .  52 

XL — Woodbury  Slides, .  53 


INTRODUCTION. 


The  Sciopticon  (pronounced  Si-op-ti-con),  is  by  far 
the  most  convenient  and  easily  managed  of  any  form  of 
Magic  Lantern.  Its  ridge  of  wide,  intensified  double 
flame,  lying  lengthwise  in  the  axis  of  the  condensing 
lenses,  gives  it  much  greater  efficiency  than  any  other 
lamp-illuminated  lantern. 

All  who  have  become  acquainted  with  this  new  in¬ 
strument,  see  in  it  the  accomplishment  of  what  has  long 
been  greatly  desired  by  those  who  appreciate  the  value 
of  visible  illustrations  as  a  means  of  imparting  instruc¬ 
tion  and  of  affording  rational  amusement. 

Confessedly,  the  medieval  magicians  with  their  lan- 
terne  magique  effected  little  good  by  their  incantations 
and  ghostly  spectres.  But  modern  educators  have 
higher  aims  and  better  means  at  hand.  Their  lenses 
are  greatly  improved  in  form  and  quality.  The  pho¬ 
tographer  secures  images  of  all  that  is  interesting  or 

(xi) 


xii 


INTRODUCTION. 


beautiful  in  nature  and  art.  Literature  and  the  sciences 
teem  with  pictorial  illustrations,  from  which  choice  se¬ 
lections  can  be  easily  copied  for  lantern  slides.  And 
now  the  Sciopticon,  with  its  own  peculiar  light  for  all 
ordinary  occasions,  and  with  the  oxy-hydrogen  light  for 
occasions  extraordinary,  comes  in  to  show  up  what  is 
thus  made  ready. 

In  form  and  construction  the  Sciopticon  is  very  unlike 
that  relic  of  the  middle  ages,  the  old  magic  lantern. 
Those  who  are  interested  in  the  philosophy  involved  in 
it,  in  the  peculiarities  pertaining  to  it,  in  the  practical 
management  of  it,  in  making  and  selecting  slides  for  it, 
in  performing  scientific  experiments  with  it,  and  in  pro¬ 
moting  the  interest  of  education  by  it — will  do  well  to 
inquire  within. 


SCIOPTICON  MANUAL 


CHAPTER  I. 

THE  CAMERA  OBSCURA. 

A  picture  formed  by  rays  of  light  from  the  several 
parts  of  an  object  as  seen  at  A  (Fig.  1),  is  called  an 
image ;  and  the  cham¬ 
ber  in  which  it  is 
formed,  and  from 
which  all  light  is  ex¬ 
cluded,  except  what 
enters  a  small  hole 
as  at  S,  is  called  a 
camera  obscura. 

This  dark  chamber 
claims  attention  here 
because  its  properties,  which  are  common  to  the  eye, 
the  Sciopticon,  and  all  forms  of  the  camera,  are  seen  on 
a  broad  scale,  and  may  be  readily  verified  by  inexpensive 
experiments.  To  avoid  confusion  the  pencils  of  light 
are  represented  in  Fig.  1  without  marginal  rays  need¬ 
ing  to  be  focused  by  a  convex  lens.  Explaining  the  fol¬ 
lowing  properties  in  connection  with  a  diagram  without 

2 


10 


SCIOPTICON  MANUAL. 


a  lens,  may  help  to  correct  the  common  impression  that 
these  properties  and  a  convex  lens  are  inseparable. 

THE  INVERTED  IMAGE. 

Of  the  rays  of  light  proceeding  in  all  directions  from 
every  point  in  the  object  B,  as  from  all  illuminated 
objects,  just  an  assortment,  that  is  to  say  a  pencil  from 
each  point  will  enter  the  hole  at  S,  just  in  line  to  fall  in 
reverse  order  upon  the  screen  A,  forming  an  inverted 
image. 

The  picture  results  from  admitting  just  an  assortment 
and  excluding  all  the  rest. 

COEOR  AND  SHADING. 

Light  from  each  of  the  several  parts  of  the  object  B 
illuminates  with  its  peculiar  color  and  relative  intensity 
each  corresponding  part  of  the  image,  so  that  it  is  seen 
in  natural  light  and  shade,  and  in  natural  colors.  The 
photographer  can  fix  the  relative  shading,  but  he  cannot, 
as  yet,  fix  the  colors. 

MOTION. 

If,  for  example,  the  bird  moves  to  a  higher  perch,  the 
pencils  of  light  will  fall  to  a  lower  place  on  the  screen, 
and  so  any  movement  of  the  object  which  alters  the 
direction  of  the  pencils  of  light,  will  give  a  reverse 
movement  to  the  image. 

SIZE. 

By  inspecting  the  angle  of  extreme  rays  it  will  be 
seen  that  the  image  in  this  case  is  smaller  than  the  ob¬ 
ject,  because  it  is  nearer  the  aperture;  so  in  all  cases, 
the  relative  size  of  the  image  depends  on  its  relative 
distance  from  the  aperture. 


SCIOPTICON  MANUAL. 


11 


Fig.  2. 


SIZE  OX  THE  RETINA. 

A  A  (Fig.  2)  represents  the  visible  portion  of  the 
sclerotica  of  the  human  eye,  which  is  a  camera  obscura 
in  perfection.  1  I  represents 
the  iris  (or  window  shutter), 
in  the  middle  of  which  is  the 
pupil  (or  aperture).  As  the 
retina  is  only  about  half  an 
inch  behind  the  optical  centre, 
it  follows  that  the  images  of 
distant  objects  upon  it  must  be 
very  minute. 

For  example,  the  figure  of  a  man  6  feet  high,  seen  at 
a  distance  of  40  feet,  produces  an  image  upon  the  retina 
the  height  of  which  is  about  T^th  part  of  an  inch.  The 
face  of  such  an  image  is  included  in  a  circle  whose 
diameter  is  about  y2th  of  the  height,  and  therefore 
occupies  on  the  retina  a  circle  whose  diameter  is  about 
the  yy-g-th  part  of  an  inch ;  nevertheless  within  this 
circle,  the  eyes,  nose,  and  lineaments  are  distinctly  seen. 
The  diameter  of  the  eye  is  about  y^th  of  that  of  the  face, 
and  therefore,  though  distinctly  seen,  does  not  occupy 
upon  the  retina  a  space  exceeding  y  0 <j imnjth  of  a 
square  inch.  How  infinitely  delicate  must  be  the 
structure  of  the  retina  or  canvas  on  which  this  exquisite 
miniature  is  delineated  to  receive  and  transmit  details 
so  minute  with  such  marvellous  precision  ! 


SIZE  IN  THE  PHOTOGRAPHIC  CAMERA. 

A  man  6  feet  high,  standing  for  his  picture  10  feet 
from  a  camera  tube  whose  lenses  require  the  screen  of 
ground-glass  adjusted  to  5  inches,  gives  a  3  inch  picture. 
For  we  have  (in  inches) 

120  :  5  :  :  72  :  x  hence  x  =  =  3. 


12 


SCIOPTICON  MANUAL. 


MAGNIFIED  IMAGE. 

This  rule  works  both  ways ;  for  suppose  a  screen  to 
be  suspended  in  place  of  the  man,  the  space  being  dark¬ 
ened,  and  suppose  the  three-inch  inverted  image  to  be 
“  fixed  ”  and  highly  illuminated,  then  a  secondary  image 
will  be  projected  upon  the  screen  ten  feet  from  the  lens, 
corresponding  to  the  original  object  in  size  and  position. 

INFERENCE  1. 

A  good  portrait  objective  for  the  camera  is  also 
suitable  for  a  lantern  objective ;  for  the  lines  of  light  and 
the  angles  are  in  both  cases  the  same. 

INFERENCE  2. 

The  light,  if  reflected  from  the  three-inch  picture, 
radiates  so  as  to  cover  100  times  as  much  surface  on  the 
magnified  image.  Now,  as  a  very  small  fraction  of  this 
reflected  light  is  re-reflected  to  the  eye  of  the  observer,  it 
seems  a  hopeless  undertaking,  to  make  the  opaque  lan¬ 
tern  practically  useful  in  showing  the  images  of  small 
paper  photographs,  on  a  large  scale,  with  any  ordinary 
flames,  however  well  arranged. 

INFERENCE  3. 

With  an  intense  light  at  a  point  behind  the  three-inch 
transparency,  converged  by  a  condenser,  so  as  to  enter 
the  objective  through  all  points  of  the  picture,  the  mag¬ 
nified  image  is  illuminated  with  incident  rays  concentra¬ 
ted,  and  its  exhibition  becomes  a  success. 

INFERENCE  4. 

Additional  light  outside  this  point  (as  some  recom¬ 
mend),  would  not  fall  in  line  with  the  objective  so  as  to 
improve  the  illumination;  while  the  additional  heat  and 
diffused  light  would  be  very  objectionable. 


SCIOPTICON  MANUAL. 


13 


EXPERIMENTAL  VERIFICATION. 

These  properties  of  the  camera  obscura,  thus  far  con¬ 
sidered,  may  receive  more  lively  illustrations  by  actually 
darkening  a  room  and  admitting  light  through,  say  an 
inch  hole.  A  room  with  but  one  window,  and  that 
looking  from  the  sun,  and  towards  objects  illuminated 
by  sunlight,  is  to  be  preferred.  A  lens,  if  one  is  used, 
of  long  focal  distance  (nearly  flat)  gives  more  room  for 
spectators  before  the  screen.  The  images,  if  the  lens 
has  short  focus,  may  be  better  seen  on  the  back  of  a 
semi-transparent  screen  by  transmitted  light,  as  they 
are  seen  on  the  ground-glass  in  a  photographic  camera. 
These  moving  pictures  of  busy  life  and  wavy  trees,  of 
curling  smoke  and  floating  clouds,  are  peculiarly 
pleasing  and  beautiful,  as  well  as  suggestive  of  im¬ 
portant  principles  in  optics. 

INDISTINCTNESS. 

Fig.  1  fails  of  showing  the  divergence  of  each  pencil 
of  light  to  the  size  of  the  aperture  as  seen  at  c  (Fig.  3) ; 

-  - _ A  == 

Fig .  3. 

a  property  which  renders  the  image  indistinct,  from  the 
consequent  overlapping  of  the  blunt  ends,  so  to  speak, 
of  innumerable  pencils. 

CONVEX  EENS. 

In  accordance  with  the  law  of  refraction,  rays  as 
from  d  (Fig.  4)  are  bent  towards  a  perpendicular  in 
entering  the  convex  lens  l ,  and  from  a  perpendicular  in 


14 


SCIOPTICON  MANUAL. 


emerging  from  it.  As  the  result  of  these  refractions 
they  meet  at  /.  The  converging  power  of  lenses,  of 
uniform  substance  and  density,  is  in  proportion  to  their 


Fig.  4. 


degree  of  convexity.  For  a  lens  to  sharpen  the  image, 
the  screen  must  be  adjusted  to  the  focal  distance. 

STOPS. 

To  get  on  the  same  plate  something  like  distinct 
images  of  objects  at  various  distances,  a  “  stop  ”  is  used 
by  the  photographer,  which,  though  it  necessitates  long 
exposure,  secures  “  depth  of  focus.”  This  expedient  of 
having  a  small  aperture  is  also  resorted  to  for  lessening 
the  defects  or  aberrations  of  lenses,  just  as  the  aperture 
b  (Fig.  3)  is  made  small  to  lessen  the  greater  defect  of 
having  no  lens. 

Stops  are  not  used  in  the  Sciopticon  objective,  because 
all  portions  of  the  picture-slide  are  in  the  same  plane, 
and  because  sharpness  produced  by  stops  is  always  at 
the  expense  of  light. 


CHAPTER  II. 

THE  CORRECTIONS  REQUIRED  BT  LENSES. 

The  corrections  required  by  lenses  (as  well  as  every¬ 
thing  photographic),  is  well  set  forth  in  Dr.  Vogel's 
Handbook  of  Photography.  The  use  of  such  diagrams, 
as  are  here  appropriated,  is  kindly  allowed  by  the  Ameri- 


SCIOPTICON  MANUAL. 


15 


can  publishers,  Benerman  &  Wilson.  Of  course  one  may 
successfully  operate  the  Sciopticon,  or  even  excel  in 
photography,  without  a  critical  knowledge  of  lenses; 
but  a  very  short,  connected  showing  of  their  properties, 
with  diagrams,  will  doubtless  prove  acceptable  to  many 
who  use  the  Sciopticon,  or  who  are  interested  in  pho¬ 
tography. 


THE  FORM  OF  LENSES, 


The  convex,  or  converging  lenses.  1,  2,  and  3  (Fig.  5), 
called  biconvex,  plano-convex,  and  meniscus,  are  thicker 


Fig.  5. 


in  the  centre  than  on  the  margin.  The  concave,  or  dis¬ 
persing  lenses,  4, 5,  and  6,  called  biconcave,  plano-concave, 
and  concavo-convex,  are  thinner  in  the  centre  than  on 
the  margin.  A  line  through  the  centre  of  these  lenses, 
from  side  to  side,  would  show  the  axis  of  each  lens. 

PERCIES  OF  RAYS  AND  THEIR  ILLUSTRATIONS. 

A  pencil  of  rays  considered  in  reference  to  its  direction 
and  the  points  in  the  image  which  it  illuminates,  may 
be  represented  by  a  simple  straight  line,  as  in  Fig.  1 ; 
but  in  most  cases,  when  the  action  of  lenses  on  its  rays  is 
considered,  it  must  be  shown  as  a  bundle  of  rays,  as  in 
Fig.  4.  The  pencil  in  Fig.  6  ditfers  from  df  in  Fig.  4,  in 
having  middle  rays  represented  as  well  as  marginal,  and 


16 


SCIOPTICON  MANUAL. 


in  having  them  proceed  from  a  point  too  distant  to  be 
shown.  The  rays  of  a  pencil  from  a  point  100  times 
further  from  the  lens  than  is  the  image,  are  about  paral¬ 
lel,  and  their  focus  is  called  the  focus  of  parallel  rays,  or 
principal  focus.  A  real  pencil  is  composed  of  innumerable 
rays,  and  such  pencils  from  innumerable  points  in  the 
object  meet  and  cross  at  the  lens  on  their  way  to  cor¬ 
responding  points  in  the  image,  and  wonderful  to  tell, 
no  one  is  switched  from  the  track  for  another,  and  there 
are  no  collisions.  An  explanation  of  one  answers  for 
countless  millions. 

SPHERICAL  ABERRATION. 

It  is  seen  (Fig.  6)  that  the  marginal  rays  d  d  must  be 
more  refracted,  or  bent,  than  the  more  central  rays  /  /, 


in  order  to  meet  the  axial  rays  at  fv  and  so  it  is  seen 
that  the  margin  of  the  lens  G  D  has  a  greater  refracting 
angle  than  the  more  central  portions.  But  the  trouble 
is,  the  refracting  at  the  margin  is  overdone,  so  that  the 
rays  d  d  meet  the  axial  ray  at/3  instead  of  at/r  Hence 
if  a  ground-glass  has  been  placed  at  the  marginal  rays 
which  have  intersected  the  axis  at  /3  will  form  a  circle 
of  dispersion  about  /1.  The  diameter  of  this  circle  is 
called  the  lateral  aberration,  and  the  distance  between 
/8  and/j  is  called  the  longitudinal  aberration.  As  a  con- 


SCIOPTICON  MANUAL. 


17 


sequence  of  this  want  of  coincidence  between  the  foci 
of  the  central  and  marginal  rays  the  picture  on  the  screen, 
or  ground-glass,  will  appear  blurred  and  ill  defined. 

We  can  conceive  of  a  lens  with  a  gradually  lessening 
degree  of  convexity  towards  the  margin,  causing  the 
foci  to  coincide,  but  lenses  cannot  well  be  ground  in  this 
form.  The  crystalline  lens  in  the  eye  is  supposed  to 
cause  the  foci  to  coincide  by  an  increase  of  density 
towards  its  centre,  but  such  an  arrangement  of  matter 
would  be  impracticable  in  art.  Much  is  gained  by  re¬ 
versing  the  lens,  for  spherical  aberration  is  four  times  as 
great  when  the  parallel  rays  enter  its  plane  surface,  as 
when  they  enter  its  convex  surface. 

Much  is  gained  by  a  combination  of  lenses  so  that  the 
refracting  angle  may  be  less  in  each.  Were  the  mar¬ 
ginal  rays  d  d  cut  otf  by  a  stop,  the  aberration  would  be 
less,  as  we  can  see  by  tracing  them  in  the  diagram,  but 
the  illumination  would  also  be  less  by  so  much. 

DISTORTION. 

When  we  focus  with  a  single  lens  with  a  front  stop 


not  appear  square,  but  barrel-shaped,  as  at  B.  When  we 


18 


SCIOPTICON  MANUAL. 


substitute  a  lens  with  the  stop  in  the  rear,  the  curves 
will  be  reversed,  as  at  C.  This  property  is  based  on  the 
fact  that  the  marginal  rays  of  the  field  of  view  strike 
the  lens  under  a  larger  angle  than  the  central  rays,  and 
consequently  suffer  a  greater  refraction. 

Of  the  simple  form  Of  lenses,  the  meniscus,  with  its 
concave  side  to  the  object,  shows  it  the  least.  But  it  is 
best  overcome  by  a  combination  of  lenses  with  central 
stops. 


CURVED  FIELD. 

This  error  is  not  caused  by  spherical  aberration,  for 
it  occurs  with  all  perfectly  aplanatic  lenses,  but  by  the 
curve  of  the  image,  as  is  shown  by  the  arrow,  Fig.  8. 


When  the  ground-glass  is  placed  at  a  a,  only  the  central 
part  will  appear  sharp ;  when  at  b  b,  only  the  points  of 
the  arrow  will  appear  well  defined.  This  error  is  avoided 
by  combination  of  lenses  with  suitable  curves,  and  by 
stops. 


SCIOPTICON  MANUAL. 


19 


CHROMATIC  ABERRATION,  OR  DISPERSION  OF  COLOR. 

White  light  is  separated  by  a  prism  into  the  seven 
primary  colors ;  violet,  indigo,  blue,  green,  yellow,  orange, 
red. 

As  a  lens  is  analogous  to  a  system  of  prisms,  and  as 
violet  is  more  refrangible  than  red,  the  violet  rays  v  v 
(Fig.  9)  will  intersect  the  axis  closer  to  the  lens  than 
the  red  rays  r  r.  This  error  is  corrected  by  combining 
a  concave  lens  of  flint-glass  with  a  convex  lens  of  crown- 
glass,  so  as  to  neutralize  their  contrary  dispersions. 

The  concave  flint-glass  lens  /  (Fig.  12),  which  has 
great  dispersive  power  in  proportion  to  its  curves, 
diverges  the  violet  more  than  the  red,  while  the  convex 
crown-glass  lens  converges  the  violet  more  than  the 
red,  so  we  have  in  both  combined  an  achromatic  convex 
lens.  As  the  chemical  rays  are  in  the  violet  end  of  the 
spectrum,  the  photographer  may  succeed  with  an  im¬ 


perfectly  corrected  lens  by  having  the  sensitive  plate  a 
little  nearer  the  lens  than  the  focus  of  luminous  rays  on 
the  ground-glass  would  indicate.  Lenses  without  chro¬ 
matic  aberration  are  called  achromatic.  The  term 
aplanatic  means  without  wandering,  and  may  apply  to 
lenses  corrected  of  both  spherical  and  chromatic  aber¬ 
ration. 


20 


SCIOPTICON  MANUAL. 


UNEQUAL  ILLUMINATION. 

We  can  see  that  the  brightness  of  an  image  decreases 
from  the  centre  towards  the  margin.  The  diameter  of 
the  pencil  g  g  passing  through  the  lens  parallel  to  its 
axis,  is  of  the  same  size  as  the  opening  of  the  stop  J5, 
and  exceeds  the  diameter  of  the  oblique  bundle  of  rays. 
Besides,  the  oblique  rays  lose  considerable  light  by  re¬ 
flection,  which  may  in  part  be  re-reflected  upon  the  image, 


detracting  from  its  distinctness.  With  a  short  exposure 
in  the  camera,  this  unequal  illumination  causes  an  under¬ 
exposure  at  the  margin.  In  the  Sciopticon  it  is  even 
exaggerated  by  the  reflector,  but  we  generally  wish  the 
objects  occupying  the  central  portion  of  the  11  field  of 
view”  to  stand  out  more  clearly  in  the  illuminated  disk. 

CORRECTIONS  IN  THE  EYE. 

Spherical  aberration  and  distortion  in  the  eye  are 
corrected  (it  is  believed)  by  the  greater  density  of  the 
crystalline  lens  about  its  centre  than  towards  the  margin, 
where  the  refracting  angle  would  otherwise  be  too  great. 

Chromatic  aberration  is  corrected  by  the  combined 


SCIOPTICON  MANUAL. 


21 


action  of  the  crystalline  lens  and  the  vitreous  and 
aqueous  humors.  As  the  retina,  RR  R  (JFig.  11),  is  con¬ 
cave,  the  centre  of  concavity  being  the  optical  centre, 
there  is  no  need  of  adjusting  the  focus  to  a  flat  field. 

The  eye  is  readily,  for  the 
most  part  unconsciously,  ad¬ 
justed,  so  that  an  object  upon 
which  we  fix  our  attention  is 
at  once  in  the  centre  of  the 
field  of  view,  and  is  focused 
according  to  its  distance. 

These  five  troublesome  properties  enumerated  in  this 
chapter,  are  thus,  in  the  eye,  harmoniously  reconciled. 
In  art  we  lack  the  peculiar  crystalline  lens,  and  the  con¬ 
cavity  of  field.  Making  amends  for  this  lack  interferes 
with  other  corrections.  Efforts  of  various  makers  to 
effect  the  best  compromise  for  particular  kinds  of  work 
has  given  rise  to  lenses,  in  variety  too  numerous  here  to 
particularize. 

THE  LANDSCAPE  LENS. 

This  simple  achromatic  lens  (Fig.  12)  is  the  oldest 
photographic  lens  in  existence.  It  is  composed  of  the 

I  s 


Fig%  12. 


concave  lens  of  flint-glass  /,  and  the  convex  lens  of 
crown-glass  c. 


22 


SCIOPTICON  MANUAL. 


Among  the  modified  forms,  the  Dallmeyer  Landscape 
Lens,  which  consists  of  three  lenses  cemented  together, 
a  central  one  of  flint-glass  and  two  outer  ones  of  different 
kinds  of  crown-glass,  gives  better  results.  The  stop  B  B 
is  generally  one-fifth  of  the  focal  length  distant  from  the 
lens,  and  consequently  cuts  off  much  of  the  light.  In 
the  earlier  days  of  photography  a  person  had  to  sit  in 
front  of  such  a  lens,  in  a  strong  light,  for  several  minutes. 
That  in  this  way  no  artistically  perfect  pictures  could 
be  made  is  self-evident,  and  so  it  became  necessary  for 
portrait  photographers  to  have  a  lens  that  would  work 
satisfactorily  with  a  larger  opening. 

THE  PORTRAIT  OBJECTIVE. 

This  invention  is  no  accident,  but  the  result  of  a 
thorough  theoretical  calculation.  It  is  a  double  ob¬ 
jective  with  two  unequal  lenses,  with  or  without  central 
stops  between. 


The  front  lens  A  consists  of  a  biconvex  crown,  and 
an  almost  plano-concave  flint-glass  lens,  cemented  to¬ 
gether  with  Canada  balsam.  The  back  lens  B  consists 


SCIOPTICON  MANUAL. 


23 


of  an  almost  plano-concave  flint,  and  a  biconvex  crown- 
glass  lens,  separated  by  a  ring.  It  is  seen  that  some 
marginal  rays  entering  the  lens  A  do  not  reach  the  lens 
B,  because  of  the  length  of  the  tube  F  F,  which  effects 
about  the  same  result  as  the  slight  stop  D  D. 

The  curvature  of  the  field  is  somewhat  exaggerated  in 
the  diagram,  to  remind  us  that  an  aplanatic  lens  cannot 
give  a  perfectly  flat  field  without  a  stop.  In  this  gene¬ 
ral  form  all  portrait  lenses  mostly  coincide,  differing  in 
regard  to  the  focal  length  of  the  separate  objectives  A 
and  B ,  the  distance  and  size  of  the  same,  the  position 
of  the  stops,  &c. 

Considering  Fig.  13  as  representing  a  portrait  ob¬ 
jective,  the  pencils  S  S  S  proceed  from  an  object  com¬ 
paratively  large  and  distant,  forming  a  small  image  in 
the  camera.  Considering  the  diagram  as  representing 
a  lantern  objective,  the  order  is  reversed.  A  small 
transparency  is  in  place  of  the  curved  line,  which  in  its 
turn  becomes  the  focus  of  incident  rays,  projecting  upon 
a  screen  a  comparatively  large  and  distant  image  where 
the  pencils  S  S  S,  if  extended,  meet  in  a  focus  of  re¬ 
fraction.  B  is  called  the  back  lens  in  either  case,  as  it 
is  back  next  to  the  instrument  to  which  the  tube  is 
attached. 


24 


SCIOPTICON  MANUAL. 


CHAPTER  III. 

THE  CONSTRUCTION  OF  THE  SCIOPTICON. 

The  Portrait  Objective. — This  objective  (Fig.  13 
or  15)  is  made  for  the  camera,  and  is  known  mostly  in 
its  relations  to  photography.  An  objective,  however, 
that  with  large  opening,  will  give  proper  direction  to 
rays  from  a  large  object  to  a  small  image  in  the  camera, 
will  answer  equally  well  in  giving  direction  to  rays  from 
the  small  picture  in  the  Sciopticon  back  to  life-size  on 
a  screen;  both  object  and  image  being  in  the  conjugate 
foci  in  either  case. 

The  Plain  Lantern  Objective. — This  objective,  like 
the  achromatic  portrait  objective  (Fig.  13  or  15),  has 
the  advantage  of  a  front  and  a  back  lens,  A  B  (Fig.  14), 
so  far  apart  that  the  tube  serves  as  a  stop  for  marginal 
rays  with  comparatively  small  loss  of  light.  The  front 
lens  A  is  a  meniscus  of  crown-glass,  whose  tube  slides 
into  a  larger  tube  which  holds  the  plano-convex  crown- 
glass  lens  B.  Arranged  as  in  the  diagram,  the  effect 
is  scarcely  inferior,  so  far  as  common  observation  goes, 
to  that  of  the  most  expensive  combinations.  With  the 
front  tube  reversed,  so  as  to  bring  A  near  to  B ,  the 
image  is  larger  but  less  distinct.  With  only  one  lens  the 
image  is  smaller.  These  different  arrangements  give 
the  three  powers  commonly  attributed  to  lenses  mounted 
in  this  form. 

NO  LOSS  OF  LIGHT  FROM  USING  AN  OBJECTIVE  OF 
EOW  POWER  WITH  A  CONCENTRATED  EIGHT. 

Were  the  picture^?  (Fig.  14)  made  luminous  by  light 
shining  upon  it,  as  in  an  opaque  lantern,  the  light  would 
radiate  in  all  directions,  and  in  accordance  with  the  law 


SCIOPTICON  MANUAL 


25 


of  radiation  would  lose  intensity  with  distance,  and  so  a 
lens  of  short  focus,  being  nearer,  would  bring  more  light 


to  bear  on  the  image.  But  the  light  in  fact  proceeds 
from  l ,  and  what  passes  through  the  condenser  and 
picture  becomes  a  cone  of  light,  with  its  apex  in  the 
objective. 

This  cone  of  light  must  be  regulated  by  the  position 
or  power  of  the  condenser  so  as  to  fall  within  the  compass 
of  the  objective.  Except  for  some  reflections  from  the 
surfaces  of  the  glasses,  the  light  would  not  illuminate 
the  room  at  all  in  its  passage,  and  there  would  not  be 
even  the  small  need  there  is  of  the  hood  i  (Fig.  15). 

ADVANTAGES  OF  A  CONCENTRATED  LIGHT. 

Could  the  light  proceed  from  a  mathematical  point 
behind  a  faultless  condenser,  the  pencils  a'  b '  c'  (Fig.  14) 
would  be  without  marginal  rays,  and  there  would  be 
nothing  for  the  objective  to  do,  for  its  office  is  to  bring 
the  marginal  rays  of  each  pencil  to  coincide  with  the 
axial  ray.  Were  we  to  adjust  the  aperture  of  our 
window  shutter  (Fig.  1),  to  the  apex  of  the  cone,  there 
would  be  no  rays  for  the  shutter  to  cut  off.  The  image 
would  be  formed  anywhere  within  reach  of  the  light, 
either  with  or  without  lens  or  stop.  But  in  reality  even 
the  most  concentrated  light  occupies  some  space  with 
countless  radiant  points,  so  near  together  however  that 

3 


26 


SCIOPTICON  MANUAL. 


their  radiations  cross  at  a  very  small  angle.  The  rays 
which  meet  and  cross  at  each  point  in  the  picture  p, 
become  a  pencil  of  diverging  rays  to  be  focused  on  the 
screen  by  the  objective. 

We  conclude,  therefore,  that  the  more  concentrated 
the  light,  the  nearer  in  each  pencil  will  the  marginal 
rays  coincide  with  the  axial  ray,  and  the  less  will  the 
imperfections  of  lenses  become  manifest. 

THE  CONDENSER. 

The  condenser  is  formed  of  combined  lenses,  because 
the  refracting  angles  would  be  too  great  in  a  single  lens 
of  sufficient  diameter  and  short  focal  distance. 

The  simplest  arrangement  is  where  two  plano-convex 
lenses  are  combined,  with  their  curved  surfaces  inwards, 
as  in  Fig.  14,  or  at  p  q  in  Fig.  15.  The  shorter  the  focus 
of  the  condenser,  the  shorter,  with  a  given  objective, 
must  be  its  distance  from  the  light;  it  will  collect  more 
light,  but  it  will  be  in  more  danger  of  breakage  from 
the  heat.  In  the  Sciopticon  the  space  between  the  lens 
q  (Fig.  15)  and  the  front  of  the  flame  is  only  about  two 
and  a  half  inches,  but  the  glass  G-,  and  the  air  between 
it  and  q  rising  up  and  out  at  A,  makes  it  perfectly  secure. 
The  condensing  lenses  in  the  Sciopticon  are  usually  each 
4  inches  in  diameter;  but  a  4J  inch  front  condensing 
lens,  p,  is  used  to  advantage  for  slides  larger  than  the 
standard  size,  and  to  show  fully  the  corners  of  some  of 
the  ordinary  square  transparencies. 

THE  REFLECTOR. 

The  reflector  r  (Fig.  14)  is  so  adjusted  that  the  light 
is  in  the  centre  of  concavity.  Each  ray  is  reflected 
back  to  its  starting-point,  and  continues  in  line  with 


SCIOPTICON  MANUAL. 


27 


the  incident  rays  a  b  c.  Some  advocate  a  larger  reflec¬ 
tor,  a  parabolic  reflector,  or  reflectors  at  the  sides;  but 
unless  the  reflected  light  coincides  with  a  b  c,  or  nearly 
so,  it  is  not  transmitted  by  the  objective  lens. 

With  proper  adjustments,  the  light  7,  with  that  from 
the  reflector,  is  focused  at  the  objective  tube,  of  a  com¬ 
parative  size  proportionate  to  its  relative  distance  from 
the  condenser;  and  the  picture  p  is  focused  upon  the 
screen  at  i  of  a  comparative  size  proportionate  to  its 
relative  distance  from  the  objective.  As  represented  in 
Fig.  14,  the  smallest  diameter  of  the  cone  of  light  in  the 
objective  A  B  would  be  twice  that  of  the  point  of  light 
7,  and  the  height  of  the  image  i  would  be  twice  that  of 
the  picture  p. 

To  project  a  picture  to  a  great  distance  without  too 
much  enlargement,  the  objective  must  be  of  low  power 
and  carried  forward;  and  the  light  should  be  from  a 
point  (as  in  the  calcium  light)  to  avoid  loss,  and  should 
be  carefully  adjusted  to  secure  even  illumination. 

The  longitudinal  ridge  of  light  B  (Fig.  15),  with  a 
medium  objective  gives  uniformly  good  results  without 
perplexing  experimental  adjustments. 


VARIOUS  MODES  OF  LANTERN  ILLUMINATION. 

The  Hydro-Oxy-Calcium  light,  or  lime  made  incan¬ 
descent  by  a  jet  of  hydrogen  and  oxygen  in  flame  upon 
it,  is  the  most  brilliant  available  light.  Its  concentrated 
form  adds  greatly  to  its  value  for  the  lantern.  The  Oxy- 
Calcium  light  produced  by  a  jet  of  oxygen  on  to  lime, 
through  an  alcohol  flame,  is  much  inferior  to  what  is 
produced  by  the  mixed  gases.  It  is  much  used,  because 
one  gas  is  easier  to  manage  than  two,  and  it  is  counted 


28 


SCIOPTICON  MANUAL. 


safer.  A  lantern  with  a  calcium  light  of  either  kind  is 
commonly  called  a  Stereopticon. 

The  Magnesium  light  is  excellent  in  photography,  but 
it  gives  off  troublesome  fumes,  and  for  a  continued 
lantern  exhibition  is  too  liable,  even  with  well-regulated 
clockwork,  to  leave  the  lookers-on  in  sudden  darkness. 

The  Electric  light  is  intense  and  concentrated,  but  it 
requires  too  much  apparatus  to  be  available. 

The  above  so-called  chemical  lights,  are,  if  well  man¬ 
aged,  much  brighter  than  flame,  even  at  its  best.  The 
Sciopticon  has  a  double  flame,  which  is  not  only  very 
bright,  but  gives  much  more  distinctness  to  the  image, 
by  its  standing  edgewise  to  the  condenser  instead  of 
broadside,  as  a  single  flame  must,  to  prevent  its  casting 
a  dark  shadow  on  the  disk.  No  lantern  of  any  sort  can 
compare  with  the  Sciopticon  in  point  of  convenience. 
We  may  conclude  that  the  Hydro-Oxy-Calcium  light  is 
best  for  exhibitions  on  a  large  scale,  and  as  for  the  rest, 
the  Sciopticon  is  desirable  as  combining  efficiency  and 
great  convenience. 

THE  SIZE  PROPER  FOR  THE  IEEUMINATER  RISK. 

The  image  enlarges  in  area,  and  diminishes  propor¬ 
tionately  in  brightness,  as  the  distance  of  the  lantern 
from  the  screen  increases.  A  disk  of  six  or  seven  feet 
is  about  right  for  figures,  statuary,  &c.,  to  give  bright¬ 
ness  and  not  an  unnatural  size ;  while  landscapes,  &c., 
appear  better  on  a  disk  of  eight  or  ten  feet,  or  more. 
With  an  objective  of  about  four  inches  back  focus,  as  is 
most  used  on  the  Sciopticon,  a  distance  of  about  sixteen 
feet  from  the  screen  gives  a  disk  of  about  eight  feet. 
The  arrangement  can  be  varied  to  suit  circumstances. 


SCIOPTICON  MANUAL. 


29 


ANALYSIS  OF  THEE  SCIOPTICON. 

The  lenses,  mountings,  &c.,  Fig.  15,  are  shown  in  sec¬ 
tion.  What  is  left  of  the  frame  and  cylinder,  the  lamp, 
chimney,  reflector,  &c.,  are  shown  in  perspective.  The 
parts  are  as  follows  : 

a  b — Front  combination  of  the  objective  cemented  together. 
c  d — Back  combination  separated  by  a  ring.  If  the  cells  holding 
these  combinations  are  unscrewed  and  the  lenses  removed,  they 
must  be  returned  in  the  same  order  and  position  as  seen  in  the  dia¬ 
gram.  There  is  no  need  of  removing  them.  Even  the  outer  sur¬ 
faces  of  a  and  d  will  seldom  need  dusting  if  kept  in  a  clean  place 
with  the  caps  closed.  They  should  not  be  fingered,  and  the  brush 
or  fabric  used  for  dusting  them  should  be  clean  and  soft. 
e — Milled  head  for  adjusting  the  focus. 

// — Flange  attached  to  the  projecting  wooden  ring  g  g. 

The  tube  here  represented  is  a  quarter-size  portrait  camera  tube 
of  inches  back  focus,  requiring  an  aperture  in  g  h  of  2f  inches 
in  diameter.  If  a  larger  tube  is  used,  the  aperture  in  g  h  has  to  be 
enlarged.  If  the  back  focus  is  more  than  5  inches,  the  extension 
front  h  k  must  be  drawn  out  more  or  less  from  the  main  body,  as  is 
shown  in  the  diagram.  If  the  focus  is  shorter  than  3J  inches,  the 
ring  g  g  is  removed,  letting  the  flange  /  back  to  h. 

h  h  h' — W ooden  frame  of  the  extension  front ;  h  '  sliding  in  a 
groove  within  the  body-frame  l  l. 

i — Top  of  the  hood  covering  light  dispersed  by  reflection.  The 
near  side  is  cut  away  to  show  the  screen  k ;  the  edge  of  the  remain¬ 
ing  side  is  seen  beyond  k. 

k — Is  now  modified  into  a  horizontal  lid,  which  shuts  up  over  the 
lens  e?,  darkening  the  picture  on  the  screen  like  a  falling  curtain. 

I  l — Portion  of  the  wooden  frame,  the  rest  being  mostly  cut  away 
to  show  the  lamp,  and  how  the  extension  front  slides  in  its  groove. 
m — Claw  attached  to  the  front  foot. 

n — Flange  under  the  back  foot.  On  the  top  of  the  Sciopticon 
case,  or  box  in  which  it  is  carried,  and  which  can  be  placed  upon  a 
stand  or  table  to  elevate  the  instrument  to  proper  height  while  in 
use,  are  two  round-headed  screws,  slightly  raised,  and  at  the  dis¬ 
tance  apart  of  m  n ;  m  clings  to  one,  and  n  slips  under  the  other, 


30 


SCIOPTICON  MANUAL. 


thus  holding  the  instrument  firmly  in  place.  When  a  pair  is  used 
for  dissolving  views,  the  fronts  are  thus  held  in  a  fixed  position, 
while  the  rear  ends  may  he  spread  apart  till  the  disks  on  the  screen 
coincide. 

o  o' — Stage  and  spring  for  wooden-mounted  pictures.  The  opera¬ 
tor  standing  behind,  slides  a  picture  horizontally  in  at  o,  letting  it 
hear  against  the  condenser  mounting,  and  letting  it  project  equally 


both  sides  of  the  cylinder.  The  picture  is  drawn  out  with  the  left 
hand,  while  with  the  right  hand  another  is  made  to  follow  in  its 
place,  so  as  not  to  show  the  white  disk  on  the  screen. 

p  q — Condensing  lenses.  Lenses  when  taken  from  a  damp  or 
cold  place  are  apt  to  become  covered  with  moisture,  which  shades 
the  pictures.  It  is  better  when  this  is  likely  to  be  the  case,  to  let 
the  instrument  stand  in  a  warm  room  awhile,  or  else  to  draw  the 
lenses  apart  and  dry  them  before  beginning  an  exhibition. 

r — Brass  ring,  holding  the  condenser  cells  suspended  in  the  cylin- 


SCIOPTICON  MANUAL. 


31 


der,  so  as  not  to  be  anywhere  in  contact  with  it.  The  ring  shuts 
over  the  end  of  the  cylinder  like  the  cover  of  a  tin  pail.  To  re¬ 
move  the  condenser,  the  extension  front  is  drawn  off,  and  the  stage 
o  is  lifted  out  of  its  place. 

s — Lamp  cup  for  kerosene  oil.  It  holds  three  gills,  or  enough  to 
last  about  4  hours.  When  it  has  to  be  moved  about  much,  it  is 
better  not  to  fill  it  more  than  two-thirds  full,  for  if  any  oil  gets  out¬ 
side,  it  gives  off  its  offensive  smell ;  while  if  there  is  no  oil  outside 
there  is  no  smell  from  it  in  the  least.  When  packed  for  transpor¬ 
tation,  the  oil  should  be  thoroughly  drained  off. 

t — Nozzle  to  admit  the  oil.  It  is  large,  so  that  if  a  wick  is  care¬ 
lessly  turned  down  into  the  cup,  it  can  be  fished  out  with  a  bent 
wire. 

u — Side  of  one  of  the  two  tubes,  showing  how  the  conduction  of 
heat  downwards  is  counteracted  by  breaking  the  connection  in  the 
metal.  It  is  made  of  tin,  for  the  reason  that  it  is  a  slower  conductor 
than  brass. 

v  v — Tops  of  the  two  tubes.  They  carry  No.  3  wicks,  which  are 
an  inch  and  a  half  wide.  The  lamp  being  taken  out,  the  wicks  are 
pushed  down  the  tubes  till  they  are  caught  by  the  ratchet-wheels 
and  drawn  down.  Should  a  loose  thread  of  the  wick  get  clogged 
in  the  wheels  it  must  be  drawn  out  and  cut  off.  The  ratchet-wheels 
could  be  made  to  bear  tighter  on  the  wicks  by  pounding  gently 
along  the  bottom  of  the  tubes,  but  such  a  necessity  is  not  likely  to 
happen. 

w  w — Buttons  for  adjusting  the  wicks ;  both  are  turned  inward 
to  raise  the  wicks,  and  outward  to  draw  them  down. 

x — Spring  for  holding  the  lamp. 

z — Stop,  preventing  the  lamp  from  sliding  in  too  far. 

A  B — Portions  of  the  cylinder  not  cut  away,  seen  beyond  the 
condenser  and  flame-chamber. 

C — Portion  of  the  cylinder  turned  up,  to  give  free  ventilation  all 
about  the  flame-chamber. 

D — Portion  of  the  cylinder  turned  down  and  supported  by  the 
wooden  frame. 

E  E/  E" — Bottom  of  the  flame-chamber.  It  is  not  supported  by 
contact  with  the  lamp,  thus  avoiding  the  conduction  of  heat  down¬ 
wards.  The  slot  through  which  the  flame  ascends  is  two  inches 
long  by  half  an  inch  wide.  E/  answers  to  the  deflecting  cap  of  a 


32 


SCIOPTICON  MANUAL. 


common  lamp.  E"  is  level,  to  allow  the  lamp  ( the  wicks  being 
turned  down)  to  slide  in  and  out.  E  slopes  so  as  not  to  shade  the 
light  from  the  condenser. 

F — Narrow  strip  of  glass,  quarter  of  an  inch  wide,  held  in  a 
socket  before  the  flame,  to  give  upward  direction  to  heated  air.  .  It 
will  not  crack  from  heat  because  it  is  so  narrow,  and  without  ob¬ 
structing  light  it  takes  from  the  glass  G  its  liability  to  crack. 

G — Front  of  flame-chamber- glass.  It  is  now  held  in  a  tin  frame 
by  a  wire  ring,  so  that  should  it  crack,  it  is  still  kept  in  place  with¬ 
out  harming  the  effect  on  the  screen. 

G' — Back  flame-chamber  glass.  The  lamp  is  lighted  by  remov¬ 
ing  this  glass,  and  reaching  the  wicks  with  a  lighted  match.  G  G' 
must  be  in  place  to  secure  the  draft.  F ,  especially  since  the  intro¬ 
duction  of  the  tin  frame  for  G,  is  scarcely  necessary. 

H — Beflector,  used  also  to  close  the  rear  of  the  cylinder.  The 
centre  of  concavity  is  at  E/ ',  so  that  reflected  rays  are  thus  made  to 
coincide  with  incident  rays  from  E'  to  the  condenser. 

/ — Chimney,  giving  large  outlet  to  heated  air. 

J — Chimney  cap,  for  darkening  the  outlet.  It  may  be  raised  to 
increase  the  draft,  when  the  lamp  gets  to  burning  freely  enough  to 
bear  it. 


PACKING. 

No  instrument  is  forwarded  without  being  first  proved 
by  careful  trial.  The  oil  is  then  poured  off,  and  the 
lamp  burned  awhile  afterwards,  to  prevent  any  further 
drainage  should  it  be  shipped  wrong  side  up.  Let  this 
precaution  be  taken  by  all  who  pack  the  instrument  for 
transportation,  that  there  may  be  none  of  the  offensive 
smell  of  oil  when  the  instrument  is  unpacked  and  used. 

The  wicks  are  left  in  the  tubes,  ready  for  use.  Four 
extra  wicks,  with  the  narrow  glass,  F,  are  tied  together, 
which  with  a  dozen  flame-chamber  glasses,  G  G are 
sent  with  each  instrument.  F  is  removed,  as  it  is  liable 
to  fall  out  if  inverted.  For  the  most  part  G  Gf  are  left 
in  place.  Packing  is  placed  between  G  and  q,  to  pre- 


SCIOPTICON  MANUAL. 


33 


vent  their  getting  out  of  place  and  scratching  against 
each  other;  also  between  Gr  and  H ]  and  between  the 
condensing  lenses. 

The  cap  J  is  removed  and  placed  behind  the  chimney. 
The  whole  is  snugly  packed  in  a  box  with  stuffing,  and 
the  cover  fastened  on  with  screws.  These  particulars 
may  be  advantageously  referred  to  in  case  of  repacking 
by  the  purchaser  or  borrower. 


RULES  FOR  OPERATING  THE  SCIOPTICON. 

In  unpacking  a  new  instrument  the  parts  must  be 
separated,  to  remove  the  packing  papers. 

Dust  them  if  necessary. 

For  the  lenses  and  reflector  use  a  duster  that  is  soft 
and  clean. 

Warm  and  dry  the  condensing  lenses  if  inclined  to  fog. 

Adjust  F,  6r,  Gr  ,  J,  and  the  lenses,  as  seen  in  Fig.  15. 

Shut  the  extension  front  back  to  its  place. 

Fill  the  lamp  about  two-thirds  full  with  standard 
kerosene  oil.  The  fire  test  should  be  110°  at  least ;  that 
of  Pratt's  astral  oil  is  145°. 

Avoid  carelessly  tilting  the  lamp  when  it  is  very  full, 
and  so  avoid  the  smell  of  oil  evaporating  from  the  out¬ 
side  surface. 

Turn  down  the  wicks,  so  they  will  not  rub  against  the 
deflecting  plate  while  withdrawing  or  inserting  the  lamp. 

It  is  convenient  stand  the  instrument  so  as  to  be 
about  breast  high. 

The  image  enlarges  as  the  distance  of  the  instrument 
from  the  screen  increases.  With  a  medium  objective,  a 
distance  of  sixteen  feet  gives  a  disk  of  eight  feet,  &c. 

Exhibitions  of  this  sort  appear  to  the  best  advantage 


34 


SCIOPTICON  MANUAL. 


in  the  evening ;  shutting  out  daylight  is  not  only  trou¬ 
blesome,  but  the  eye  is  not  prepared  for  the  contrast. 
Lights  should  be  turned  down  near  the  screen,  but  may 
be  left  dimly  burning  in  the  distance,  or  out  of  range 
of  the  screen. 

Light  the  lamp  in  the  instrument,  as  it  stands  in  the 
diagram,  by  removing  the  back  glass,  6r',  turning  up  the 
wicks  by  a  turn  inward  of  the  buttons  w  w ,  and  reach¬ 
ing  the  wicks  V  V  through  E  with  a  lighted  match. 
To  avoid  smoke,  turn  the  wicks  almost  down  again  till 
the  glass  is  replaced. 

Turn  up  the  flames  evenly  about  half  an  inch  at  first; 
they  will  rise  a  little  after  the  wicks  are  warm,  when 
they  may  need  looking  to  again,  after  which  they  will 
stand  steady  without  requiring  further  attention. 

Put  out  the  light  by  drawing  the  wicks  down  with  a 
turn  of  the  buttons  outward,  and  then  blowing  under 
the  reflector. 

The  wicks  may  he  trimmed  when  the  lamp  is  taken 
out  to  be  filled;  cut  them  level;  it  may  be  done  more 
evenly  by  only  removing  the  black  part. 

If  kept  in  a  dry  place  the  reflector  will  keep  its  polish 
for  a  long  time;  it  is  protected  by  a  film  which  should 
not  be  rubbed. 

While  exhibiting,  the  operator  should  stand  behind 
the  instrument,  having  the  slides  arranged  at  his  right, 
in  the  proper  order  and  inverted  position  required  for 
exhibition.  If  the  instrument  is  in  front  of  the  screen, 
the  wire  ring  fastening  the  double  gl%ss  into  the  wooden 
mounts  should  be  towards  the  condenser,  in  order  to 
show  the  views  in  a  right-handed  position.  Some  oper¬ 
ators  mark  what  should  be  the  upper  right  hand  corner 
of  each  picture,  with  a  piece  of  white  paper,  or  a  notch. 

Pass  the  slides  in  with  the  right  hand,  level  and  true, 


SCIOPTICON  MANUAL. 


35 


without  jumping  them  about.  The  stage  o  slants  down 
to  the  condenser,  to  keep  the  slides  down  close  to  it. 

Take  the  slides  out  with  the  left  hand  as  others  are 
pushed  into  place,  so  as  to  leave  none  of  the  white  disk 
visible,  and  put  them  in  their  box  as  before.  A  slide 
standing  endwise  between  those  which  have  been  used 
and  those  which  have  not,  will  keep  them  apart. 

As  photographers  are  giving  increasing  attention  to 
preparing  slides,  there  is  an  increasing  proportion  in  the 
market  of  the  size  of  half  a  stereoscopic  view,  or 
inches  square,  bound  with  narrow  binding.  For  these 
a  wooden  stage  9  inches  long  is  attached  to  o  o',  so  that, 
without  crowding  a  picture  out  at  the  end,  its  successor 
may  he  pushed  into  its  place,  by  the  finger  following  to 
where  the  cylinder  and  stage  intersect ;  with  the  left 
hand  at  the  button  attached  to  the  back  stop  we  may : 
1.  Close  stop.  2.  Slide  in  the  picture.  3.  Uncover — so 
that  in  the  time  of  counting  three  we  have  changed  the 
scene  without  any  visible  movement.  This,  well  man¬ 
aged,  is  better  than  dissolving  views  poorly  managed. 

Tanks  for  insects,  fish,  chemical  experiments,  &c.,  &c., 
slide  into  the  stage  as  easily  as  pictures.  The  stage 
being  open  at  the  top,  with  no  bulky  lantern  case  to  ob¬ 
struct  it,  is  peculiarly  suited* to  all  such  operations. 

A  slender  wire  in  the  direction  r  o',  answers  the  pur¬ 
pose  of  a  long  rod  pointing  upward  on  the  screen  to 
explain  the  representations. 

The  simplicity  and  completeness  of  the  Sciopticon  are 
more  evident  in  praptice  than  may  seem  while  consider¬ 
ing  so  wide  a  range  of  details  and  contingencies.  The 
advantage  of  having  an  instrument  so  completely  under 
one’s  hand  is  not  only  felt  by  the  operator,  but  the 
smoothness  it  gives  to  the  exhibition  is  appreciated  by 
spectators. 


36 


SCIOPTICON  MANUAL. 


Beginners  who  wish  to  understand  and  operate  the 
Seiopticon  by  explanations  and  directions  which  can  be 
seen  at  a  glance,  may  examine  in  connection  with  Fig.  . 
15,  the  following 

RECAPITULATION. 

The  front,  h  h  7f,  with  its  attachments,  draws  apart 
from  the  body  of  the  instrument. 

The  stage  o  o'  lifts  out. 

The  condenser,  p  q,  is  drawn  out  by  laying  hold  of 
the  ring  r. 

The  cells  holding  p  and  q  draw  apart. 

The  front  flame-chamber  glass  G  is  held  in  place  by 
the  spring  A,  which  can  be  reached  through  the  open¬ 
ing  over  A. 

With  h  o  p  q  Gr  removed,  the  narrow  glass  F  (found 
packed  with  the  extra  wicks)  is  reached  to  position, 
and  needs  no  further  attention. 

The  portion  of  chimney  attached  to  the  cap  J,  tele¬ 
scopes  into  /. 

The  lamp  S  slides  out  horizontally,  by  raising  the 
spring  X. 

With  packing  removed,  glasses  clean,  lamp  filled  two- 
thirds  full  of  standard  kerosene  oil,  and  all  parts  in  place 
as  seen  in  the  cut,  remove  the  back  glass  G',  and  reach 
the  wicks  v  v  with  a  lighted  match.  Replace  G',  and 
let  the  flames  stand  about  one  inch  high. 

See,  specially,  that  an  oil  so  inflammable  as  to  light 
at  the  safety  slit  u  is  not  used — that  no  oil  is  left  outside 
the  lamp-cup,  to  give  off  an  offensive  smell — that  the 
wicks  at  v  v  are  not  raised  to  rub  against  the  plate  E" 
when  the  lamp  slides  in  and  out — that  the  flame-chamber 
glasses  G  G'  are  in  place  to  secure  draft,  and  that  the 


SCIOPTICON  MANUAL. 


37 


oil  is  thoroughly  drained  out  of  the  lamp-cup  should  the 
instrument  have  to  be  repacked  for  transportation  by 
public  conveyance. 

Standing  behind  the  instrument,  placed  about  breast 
high — as  upon  its  box  on  a  stand  or  table — close  down 
the  reflector  H ,  pass  in  the  slides  at  o  o'  with  the  right 
hand,  taking  them  out  with  the  left  as  other  slides  take 
their  places.  Focus  the  picture  by  the  milled  head  e, 
upon  the  screen,  which  may  be  distant  sixteen  feet, 
more  or  less,  as  it  is  desired  to  have  the  scenes  on  a 
larger  or  smaller  scale. 

k  (unlike  the  cut)  is  horizontal,  and  turns  up  to  give 
the  appearance  of  a  falling  curtain  on  the  screen. 

THE  SCREEN. 

There  can  be  nothing  better  for  the  projected  pictures 
than  the  white-finished,  whitewashed,  or  white-papered 
walls  of  many  a  lecture-room  or  dwelling.  An  appro¬ 
priate  space  specially  set  apart  and  papered  with  white 
wall  paper,  having  an  outline,  say  of  a  wide  recess  or 
niche  for  statuary,  is  an  inexpensive  and  not  inelegant 
fixture,  on  which  to  display  before  the  assembled  house¬ 
hold,  without  waste  of  room  or  trouble  in  arranging,  the 
richest  treasures  of  all  the  art  galleries  in  Christendom. 
The  time  is  coming,  when  for  purposes  of  demonstra¬ 
tion  and  illustration  in  the  lecture-room,  this  whiteboard 
will  rival  the  blackboard. 

The  best  material  in  the  market  for  a  movable  screen 
of  good  size,  seems  to  be  bleached  sheeting  of  close 
texture,  but  not  very  fine,  twelve-quarters  wide.  This 
gives  us  the  material,  nine  feet  square,  for  about  two 
dollars.  It  has  the  advantage  of  being  available 
whether  the  instrument  is  placed  before  or  behind  it. 
As,  however,  every  pencil  of  light  falling  between  the 


38 


SCIOPTICON  MANUAL. 


open  threads  of  the  texture  is  lost,  it  is  better,  when 
the  instrument  is  invariably  to  be  placed  in  front, 
to  cover  the  surface  with  whiting  or  paper,  keeping 
it  smooth  by  mounting  it  on  a  roller.  When  illumin¬ 
ated  from  behind,  the  screen  should  be  wet,  to  tighten 
its  texture  and  to  make  it  translucent,  and  consequently 
luminous  on  the  side  towards  the  spectators.  It  can  be 
wet  and  then  stretched  upon  a  frame,  or  first  mounted 
and  then  sprinkled  to  saturation.  For  home  use,  a  sheet 
may  be  stretched  across  the  frame  upon  which  the  fold¬ 
ing  doors  of  most  modern  houses  are  hung,  the  doors 
being  thrown  open  at  the  commencement  of  the  exhibi¬ 
tion.  A  waxed  screen  is  often  recommended,  but  it  is 
little  used  on  account  of  the  difficulty  of  keeping  it 
smooth  and  clean.  An  unmounted  screen  can  be  quickly 
put  up  in  any  room  by  procuring  two  strips  of  wood 
about  two  inches  square,  and  long  enough  to  reach  from 
the  floor  to  the  ceiling;  a  side  of  the  screen  is  tacked 
to  each  one  of  these  strips,  which  are  then  stretched 
apart,  and  wedged  up  tightly  between  the  floor  and  the 
ceiling. 

To  widen  the  screen  to  more  than  nine  feet,  join  the 
added  width  to  each  side,  rather  than  bring  a  seam  into 
the  centre  of  the  views. 

A  fine  picture  from  within,  upon  oiled  muslin,  stretched 
upon  a  frame,  made  to  fit  a  show  window,  is  always 
greatly  admired  by  all  the  passers-by.  Such  a  framed 
oiled  screen,  on  a  small  scale,  can  also  be  conveniently 
used  in  parlors,  or  in  the  doorway  leading  out  from  the 
company. 

Working  behind  the  screen  has  in  many  cases  decided 
advantages,  but  the  images  can  hardly  be  as  bright  by 
transmitted  light,  and  other  things  being  equal,  it  is 
better  for  the  instrument  to  be  in  front. 


SCIOPTICON  MANUAL. 


39 


DISSOLVING  VIEWS. 

The  Stand. — The  peculiar  stand  represented  in  Fig. 
16,  is  mostly  the  one  used  with  Sciopticon  dissolving 
apparatus,  and  so  can  better  be  described  with  it,  but  it 
is  not  necessarily  a  part  of  it. 

It  consists  of  a  well-made  walnut  box,  mounted  on 
two  pairs  of  adjustable  legs,  attached  by  fixed  thumb¬ 
screws  and  nuts.  The  back  legs  are  an  inch  or  so  shorter 
than  those  attached  to  the  front  at  A,  to  elevate  the 
range  of  the  lanterns.  The  back  of  the  stand  may 
be  known  by  the  match-lighter  G,  and  by  its  being  nec¬ 
essary  for  the  operator  from  behind  to  have  the  open¬ 
ing  and  the  box  of  slides  B  at  his  right  hand.  The 
slide  D  stands  on  end,  to  separate  the  used  from  the 
unused  slides. 

When  the  apparatus  is  taken  down,  the  legs  swing 
together  on  their  hinges,  and  are  tied  in  a  bundle ;  the 
open  side  of  the  box  becomes  the  top ;  the  instruments 
occupy  the  stalls  E  and  F;  the  dissolver  is  drawn  apart 
and  placed  alongside;  the  caps  are  removed  from  the 
chimney,  and  placed  in  the  rear;  the  box  of  slides  occu¬ 
pies  the  space  in  front;  the  swing  shelf  G  becomes  the 
lid  and  is  locked  down;  the  strap  S  and  its  mate,  now 
hidden  under  the  instruments,  meet  over  the  top  for  one 
carrier,  or  serve  like  the  ears  of  a  basket,  for  two. 

But  as  a  stand,  as  seen  in  the  diagram,  the  front  of 
the  box  becomes  the  baseboard,  and  like  any  other  13 
by  17  inch  board,  affords  suitable  standing-room  for  the 
apparatus;  it  is  more  likely  to  keep  it  level  than  a  sep¬ 
arate  board,  as  it  is  dovetailed  and  firmly  fastened  in 
place. 

Dissolving  Apparatus  Arranged. — The  fronts  of 
the  sciopticons  B  and  L,  hold  firmly  by  claws  to  two 


40 


SCIOPTICON  MANUAL. 


Fig.  16. 


SCIOPTICON 


MANUAL. 


41 


screw-heads  7£  inches  apart;  the  flanges  in  the  rear 
slide,  under  two  similar  screw-heads,  holding  the  instru¬ 
ments  down,  but  allowing  them  to  spread  till  their  disks 
coincide  on  the  screen. 

The  construction  of  the  dissolver  is  shown  in  Fig.  17, 
in  its  three  parts.  The  crescent-shaped  dissolver  a  is 
mounted  on  the  arm  b,  as  seen  in  Fig.  16,  so  as  to  cover 
alternately  the  tubes  on  R  and  _L,  as  it  swings  from  side 
to  side.  The  horizontal  part  of  b  slips  into  c  till  the 
length  of  the  united  axle  just  allows  the  dissolver  to 
swing  clear  of  the  tubes,  and  the  whole  is  held  in  place 
by  a  socket-spring  at  each  end  of  the  baseboard. 

The  dissolver  is  operated  by  the  handles  at  c,  which 
are  adjusted  at  the  proper  angle  to  limit  the  lateral 
movement  of  a  to  the  distance  between  the  tubes. 

Light  the  lamps  in  their  place  by  reaching  the  wicks 
with  a  lighted  match,  and  attend  to  them  at  first  to  see 
that  they  burn  steadily  and  evenly.  Focus  a  picture  in 
R,  for  example,  while  L  is  covered  by  the  dissolver,  and 


Fig .  17. 


in  L  while  R  is  covered ;  this  reduces  the  disks  to  equal 
size  on  the  screen.  With  the  slides  removed,  and  the 
dissolver  in  the  position  as  shown  in  Fig.  16,  spread  the 
lanterns  till  the  disks  coincide. 

Directions  for  Producing  the  Dissolving  Effects. 
— With  the  lanterns  lighted,  and  arranged  as  shown  in 
Fig.  16,  and  a  slide  placed  in  each,  then  the  gradual 

4 


42 


SCIOPTXCON  MANUAL. 


moving  of  the  dissolver  will  very  mysteriously  dissolve 
one  view  into  another. 

This  effect  is  commonly  produced  with  slides  not  spe¬ 
cially  arranged  for  the  purpose,  hut  it  is  desirable  that 
they  should  he  of  similar  size  and  shape,  and  that  they 
should  be  put  in  evenly,  so  as  to  cover  the  same  space 
on  the  screen. 

Many  slides  are,  however,  selected  and  executed  with 
special  reference  to  their  producing  charming  effects  in 
dissolving. 

They  are  mostly  arranged  in  pairs,  as  some  view  in 
summer  and  the  same  in  winter,  by  day  and  by  night, 
interior  and  exterior,  in  sunshine  and  in  storm,  or  hu¬ 
manity  in  opposite  moods.  Sometimes  the  series  are 
more  extended,  as  the  Seasons,  the  Yoyage  of  Life,  &c., 
and  sometimes  they  are  in  connection  with  chroma- 
tropes  to  represent  volcanic  action,  conflagrations,  fire¬ 
works,  turning  mills,  &c.  Suppose,  for  example,  Saint 
Peter’s,  at  Eome,  is  thrown  upon  the  screen  from  R,  and 
a  night  view  of  the  same  is  placed  in  L;  then  as  the 
dissolver  is  changed,  Saint  Peter’s  with  its  surroundings 
continues  on  the  screen,  but  an  appearance  of  night 
comes  over  it;  the  windows  glitter  with  a  thousand 
lights,  and  the  moon  makes  its  appearance  in  the  heav¬ 
ens.  Now,  suppose  a  chromatrope,  suited  to  the  pur¬ 
pose,  is  placed  in  R,  then  as  the  change  proceeds  fire¬ 
works  will  rise  from  the  darkness,  and  illumine  the  sky. 

The  snow  effect  is  produced  by  a  strip,  usually  of 
silk,  with  pin-holes  all  over  its  surface,  mounted  on  roll¬ 
ers  within  a  slide,  so  that  when  the  silk  is  rolling  up, 
snowflakes  appear  on  the  screen  to  be  falling.  Let,  for 
example,  a  farm-house  scene  be  projected  from  R  upon 
the  screen,  amid  all  the  glory  of  summer  vegetation ; 
place  the  snow  slide  in  _L,  and  let  an  assistant  slowly 


SCIOPTICON  MANUAL. 


43 


roll  it  up  while  the  dissolver  passes  over;  the  snow 
shows  plainer  and  plainer,  till  nothing  but  the  falling 
snow  appears.  Now  place  in  R  the  same  view  in  winter 
and  turn  back  the  dissolver;  the  storm  subsides,  and 
the  farm-house  scene  again  appears  in  the  morning 
light,  covered  with  the  newly  fallen  snow  of  the  win¬ 
ter’s  night. 

To  bring  out  statuary  on  a  blue  ground,  a  slide  of 
blue  glass,  and  usually  one  of  red  glass  also  is  used. 
Change  any  scene,  first  into  a  red  disk,  then  the  red 
into  blue,  and  then  let  a  piece  of  statuary  slowly  come 
out  into  the  blue  ground,  while  the  blue  becomes  darker 
and  darker,  till  it  ends  in  a  blackness  which  seems  to 
add  vigor  to  the  representation. 

A  beautiful  effect  is  produced  by  a  wheel  chromatrope, 
used  continuously  in  one  of  the  lanterns,  while  a  series 
is  shown  in  the  other,  turning  it  inward  and  outward 
alternately,  as  the  dissolving  proceeds.  It  thus  seems 
to  suck  up  the  vanishing  scene  as  in  a  maelstrom,  and 
to  bring  out  its  successor  with  scintillations  of  colored 
lights. 

A  pleasing  effect  is  produced  by  showing  a  series  of 
views  in  one  lantern,  and  a  veranda,  or  some  appropriate 
design  with  opaque  centre,  with  the  other.  If  in  adopt¬ 
ing  this  suggestion,  the  veranda  be  focused  for  the  edges 
of  the  field,  and  the  view  focused  for  the  centre,  a  flat 
field  is  obtained  over  the  entire  disk.  In  this  case,  and 
in  all  cases  when  light  from  both  lanterns  is  to  appear, 
the  dissolver  is  slipped  up  an  inch  higher,  and  kept  in 
position  as  in  Fig.  16. 

The  slow  or  dissolving  process  may  become  monoto¬ 
nous,  and  it  is  not  always  appropriate.  We  hardly  like 
to  see  “Pilgrim”  in  his  “Progress”  fading  away,  while 
his  double  by  his  side  is  slowly  growing  in  strength  and 


44 


SCIOPTICON  MANUAL. 


vigor.  It  is  better  to  allow  the  axle  of  the  dissolver  to 
turn  at  once,  flashing  the  change  upon  the  disk. 

Much  use  can  be  made  of  this  expedient,  as  it  is  so 
easily  effected  in  the  apparatus  represented.  A  dupli¬ 
cate  picture  placed  in  R  and  L  in  reverse  order,  the 
dissolver  being  changed  back  and  forth  with  a  sudden 
movement,  will  show  an  “  about  face  ”  as  of  a  person 
bowing  to  the  company,  a  lion  uneasy  in  his  cage,  &c. 

Lightnings  may  thus  be  made  to  flash  upon  scenery, 
especially  when  the  view  is  darkened  somewhat  by 
turning  down  its  light  a  little,  giving  the  appearance  of 
a  rising  tempest. 

Discretion  and  good  taste  should  be  observed  in  ar¬ 
ranging  the  slides  for  an  exhibition,  so  as  not  to  mar 
beauty  with  caricature,  or  sacred  scenes  with  what  is 
ridiculous ;  yet  it  is  well  to  avoid  monotony,  for  “variety 
is  the  spice  of  life.” 

Dissolving  views,  it  must  be  confessed,  are  usually 
treated  in  a  somewhat  florid  style  by  opticians,  so  it 
may  be  safe  to  make  some  abatement  in  anticipating  the 
effects,  especially  of  high-priced  mechanical  slides,  lest 
when  they  chance  to  fall  below  the  “  Royal  Polytechnic 
Institute  in  London/’  there  should  be  a  feeling  of  dis¬ 
appointment. 

In  the  Sciopticon  enterprise,  it  has  been  kept  steadily 
in  mind,  to  produce  beautiful  and  useful  results  by  the 
simplest  means ;  and  the  desire  is  felt,  not  to  make  as 
large  sales  as  possible,  but  to  have  every  purchaser 
realize  his  highest  expectations. 

THE  PHANTASMAGORIA. 

To  produce  this  effect,  the  operator  should  be  on  one 
side  of  the  wet  screen,  and  the  spectators  on  the  other. 


8  CIOPTI  CON  MANUAL. 


45 


Taking  the  instrument  under  his  left  arm,  he  should 
go  up  pretty  close  to  the  screen,  and  adjust  the  focus 
with  his  right  hand;  the  image  of  course  will  be  very 
small;  he  must  then  walk  slowly  backwards,  at  the  same 
time  adjusting  the  focus.  As  the  image  increases  in  size, 
it  will  appear  to  the  spectators  to  be  coming  towards 
them;  and  then  again  let  him  walk  up  towards  the 
screen,  thus  diminishing  the  image,  and  it  will  appear 
to  them  as  if  receding.  The  screen  not  being  seen,  the 
image  appears  to  be  suspended  in  the  air,  and  the  de¬ 
ception  is  complete,  even  to  those  accustomed  to  the 
exhibition.  The  focusing  is  most  evenly  and  easily 
effected  by  prying  the  extension  front  out  and  in  with 
the  thumb  and  fingers  of  the  right  hand. 

Slides  producing  the  best  phantasmagorial  effect  are 
those  containing  but  one  or  two  figures  with  a  black 
background.  In  ancient  times,  the  images  from  the 
phantasmagoria  were  thrown  on  the  smoke  arising  from 
a  chafing  dish  in  which  odors  and  drugs  were  burning, 
and  by  means  of  which  many  surprising  and  apparently 
supernatural  effects  were  produced.  As  a  relief  from 
so  closely  following  practical  details,  let  us  advert  to 
the  probable  use  made  by  ancient  magicians,  necro¬ 
mancers,  and  sorcerers,  of  these  optical  contrivances 
for  producing  supernatural  illusions.  In  this  we  cannot 
do  better  than  to  quote  from  that  eminent  authority  on 
optical  science,  Sir  David  Brewster : 

“  In  the  imperfect  accounts  which  have  reached  us  of  these  rep¬ 
resentations,  we  can  trace  all  the  elements  of  optical  illusion.  In 
the  ancient  temple  of  Hercules,  at  Tyre,  Pliny  mentions  that  there 
was  a  seat  made  of  consecrated  stone,  1  from  which  the  gods  easily 
arose.’  Esculapius  often  exhibited  himself  to  his  worshipers  in 
the  temple  at  Tarsus ;  and  the  Temple  at  Enguinum,  in  Sicily,  was 


46 


SCIOPTICON  MANUAL. 


celebrated  as  the  place  where  the  goddesses  exhibited  themselves  to 
mortals.  Jambliches  actually  informs  us  that  the  ancient  magicians 
caused  the  gods  to  appear  among  the  vapors  disengaged  from  fire. 

‘ ‘  The  character  of  these  exhibitions  in  the  ancient  temple  is  so 
admirably  depicted  in  the  following  passage  of  Damascius,  quoted 
by  M.  Salverte,  that  we  recognize  all  the  optical  effects  which  have 
been  already  described.  ‘  In  a  manifestation,’  says  he, { which  ought 
not  to  be  revealed,  ....  there  appeared  on  the  wall  of  the  temple 
a  mass  of  light,  which  at  first  seemed  to  be  very  remote ;  it  trans¬ 
formed  itself  in  coming  nearer,  into  a  face  evidently  divine  and 
supernatural,  of  a  severe  aspect,  but  mixed  with  gentleness,  and 
extremely  beautiful.  According  to  the  institutions  of  a  mysterious 
religion  the  Alexandrians  honored  it  as  Osiris  and  Adonis.’ 

“  These  and  other  allusions  to  the  operations  of  the  ancient  magic, 
though  sufficiently  indicative  of  the  methods  which  were  employed, 
are  too  meagre  to  convey  any  idea  of  the  splendid  and  imposing 
exhibitions  which  must  have  been  displayed.  A  national  system 
of  deception,  intended  as  an  instrument  of  government,  must  have 
brought  into  requisition  not  merely  the  scientific  skill  of  the  age, 
but  a  variety  of  subsidiary  contrivances,  calculated  to  astonish  the 
beholder,  to  confound  his  judgment,  to  dazzle  his  senses,  and  to 
give  a  predominant  influence  to  the  peculiar  imposture  which  it 
was  thought  desirable  to  establish.  The  grandeur  of  the  means 
may  be  inferred  from  their  efficacy,  and  from  the  extent  of  their 
influence. 

“  This  defect,  however,  is  to  a  certain  degree  supplied  by  an  ac¬ 
count  of  a  modern  necromancy,  which  has  been  left  us  by  the  cele¬ 
brated  Benvenuto  Cellini,  and  in  which  he  himself  performed  an 
active  part. 

“  1  It  happened,’  says  he,  ‘  through  a  variety  of  odd  accidents,  that 
I  made  acquaintance  with  a  Sicilian  priest,  who  was  a  man  of  ge¬ 
nius,  and  well  versed  in  the  Latin  and  Greek  authors.  Happening 
one  day  to  have  some  conversation  with  him  when  the  subject 
turned  upon  the  art  of  necromancy,  I,  who  had  a  great  desire  to 
know  something  of  the  matter,  told  him,  that  I  had  all  my  life 
felt  a  curiosity  to  be  acquainted  with  the  mysteries  of  this  art. 

“  ‘  The  priest  made  answer,  “that  the  man  must  be  of  a  resolute 
and  steady  temper  who  enters  upon  that  study.  ’  ’  I  replied,  ‘  ‘  that  I 
had  fortitude  and  resolution  enough,  if  I  could  but  find  an  oppor- 


SCIOPTICON  MANUAL. 


47 


tunity.”  The  priest  subjoined,  “  If  you  think  you  have  the  heart 
to  venture,  I  will  give  you  all  the  satisfaction  you  can  desire.’7 
Thus  we  agreed  to  enter  upon  a  plan  of  necromancy.  The  priest 
one  evening  prepared  to  satisfy  me,  and  desired  me  to  look  out  for 
a  companion  or  two.  I  invited  one  Yincenzio  Eomoli,  who  was 
my  intimate  acquaintance ;  he  brought  with  him  a  native  of  Pis- 
toia,  who  cultivated  the  black  art  himself.  We  repaired  to  the 
Collosseo,  and  the  priest,  according  to  the  custom  of  necromancers, 
began  to  draw  circles  upon  the  ground,  with  the  most  impressive 
ceremonies  imaginable ;  he  likewise  brought  hither  asafoetida,  sev¬ 
eral  precious  perfumes,  and  fire,  with  some  compositions  also,  which 
diffused  noisome  odors.  As  soon  as  he  was  in  readiness,  he  made 
an  opening  to  the  circle,  and  having  taken  us  by  the  hand,  ordered 
the  other  necromancer,  his  partner,  to  throw  the  perfumes  into  the 
fire  at  a  proper  time,  intrusting  the  care  of  the  fire  and  perfumes 
to  the  rest,  and  thus  he  began  his  incantations.  This  ceremony 
lasted  above  an  hour  and  a  half,  when  there  appeared  several  legions 
of  devils,  insomuch  that  the  amphitheatre  was  quite  filled  with 
them.  I  was  busy  about  the  perfumes,  when  the  priest,  perceiving 
there  was  a  considerable  number  of  infernal  spirits,  turned  to  me 
and  said,  “Benvenuto,  ask  them  something.”  I  answered,  “Let 
them  bring  me  into  the  company  of  my  Sicilian  mistress,  Angelica.” 
That  night  he  obtained  no  answer  of  any  sort ;  but  I  had  received 
great  satisfaction  in  having  my  curiosity  so  far  indulged.  The 
necromancer  told  me  it  was  requisite  we  should  go  a  second  time, 
assuring  me  that  I  should  be  satisfied  in  whatever  I  asked ;  but 
that  I  must  bring  with  me  a  pure  immaculate  boy. 

“  1 1  took  with  me  a  youth  who  was  in  my  service,  of  about  twelve 
years  of  age,  together  with  the  same  Yincenzio  Eomoli,  who  had 
been  my  companion  the  first  time,  and  one  Agnolino  Gaddi,  an  in¬ 
timate  acquaintance,  whom  I  likewise  prevailed  on  to  assist  at  the 
ceremony.  When  we  came  to  the  place  appointed,  the  priest  hav¬ 
ing  made  his  preparations  as  before,  with  the  same  and  even  more 
striking  ceremonies,  placed  us  within  the  circle,  which  he  had  like¬ 
wise  drawn  with  a  more  wonderful  art,  and  in  a  more  solemn  man¬ 
ner  than  at  our  former  meeting.  Thus,  having  committed  the  care 
of  the  perfumes  and  the  fire  to  my  friend  Yincenzio,  who  was 
assisted  by  Agnolino  Gaddi,  he  put  into  my  hand  a  pintaculo  or 
magical  chart,  and  bid  me  turn  it  towards  the  places  that  he  should 


48 


SCIOPTIC  ON  MANUAL. 


direct  me ;  and  under  the  pintaculo  I  held  the  boy.  The  necro¬ 
mancer,  having  begun  to  make  his  tremendous  invocations,  called 
by  their  names  a  multitude  of  demons  who  were  the  leaders  of  the 
several  legions,  and  questioned  them,  by  the  power  of  the  eternal 
uncreated  God  who  lives  forever,  in  the  Hebrew  language,  as  like¬ 
wise  in  Latin  and  Greek ;  insomuch  that  the  amphitheatre  was 
almost  in  an  instant  filled  with  demons  more  numerous  than  at  the 
former  conjuration.  Yincenzio  Eomoli  was  busied  in  making  a 
fire,  with  the  assistance  of  Agnolino,  and  burning  a  great  quantity 
of  precious  perfumes.  I,  by  the  directions  of  the  necromancer, 
again  desired  to  be  in  the  company  of  my  Angelica.  The  former 
thereupon  turning  to  me,  said:  “  Know,  they  have  declared,  that 
in  the  space  of  a  month  you  shall  be  in  her  company.” 

“  ‘  He  then  requested  me  to  stand  resolutely  by  him,  because  the 
legions  were  now  above  a  thousand  more  in  number  than  he  had 
designed ;  and  besides,  these  were  the  most  dangerous  ;  so  that,  after 
they  had  answered  my  question,  it  behooved  him  to  be  civil  to  them 
and  dismiss  them  quietly.  At  the  same  time  the  boy  under  the 
pintaculo  was  in  a  terrible  fright,  saying  that  there  were  in  that 
place  a  million  of  fierce  men,  who  threatened  to  destroy  us ;  and 
that,  moreover,  four  armed  giants  of  enormous  stature  were  en¬ 
deavoring  to  break  into  the  circle.  During  this  time,  whilst  the 
necromancer,  trembling  with  fear,  endeavored  by  mild  and  gentle 
methods  to  dismiss  them  in  the  best  way  he  could,  Yincenzio  Eo- 
moli,  who  quivered  like  an  aspen  leaf,  took  care  of  the  perfumes. 
Though  I  was  as  much  terrified  as  any  of  them,  I  did  my  utmost 
to  conceal  the  terror  I  felt,  so  that  I  greatly  contributed  to  inspire 
the  rest  with  resolution ;  but  the  truth  is,  I  gave  myself  over  for  a 
dead  man,  seeing  the  horrid  fright  the  necromancer  was  in.  The 
boy  placed  his  head  between  his  knees  and  said,  “  In  this  posture 
will  I  die,  for  we  shall  all  surely  perish.”  I  told  him  that  all  these 
demons  were  under  us,  and  what  he  saw  was  smoke  and  shadow  ; 
so  bid  him  hold  up  his  head  and  take  courage.  No  sooner  did  he 
look  up  than  he  cried  out,  “The  whole  amphitheatre  is  burning, 
and  the  fire  is  just  falling  upon  us.”  So  covering  his  face  with  his 
hands,  he  exclaimed,  “  that  destruction  was  inevitable,  and  desired 
to  see  no  more.”  The  necromancer  entreated  me  to  have  a  good 
heart,  and  take  care  to  burn  proper  perfumes ;  upon  which  I  turned 
to  Eomoli,  and  bid  him  burn  all  the  most  precious  perfumes  he  had. 


SCIOPTICON  MANUAL. 


49 


At  the  same  time  I  cast  my  eye  upon  Agnolino  Gaddi,  who  was 
terrified  to  such  a  degree  that  he  could  scarce  distinguish  objects, 
and  seemed  to  be  half  dead.  Seeing  him  in  this  condition  I  said, 
“  Agnolino,  upon  these  occasions  a  man  should  not  yield  to  fear, 
but  should  stir  about  and  give  his  assistance,  so  come  directly  and 
put  on  some  more  of  these.”  The  effects  of  poor  Agnolino’s  fear 
were  overpowering.  The  boy  hearing  a  crepitation,  ventured  once 
more  to  raise  his  head,  when,  seeing  me  laugh,  he  began  to  take 
courage,  and  said  “that  the  devils  were  flying  away  with  a  ven¬ 
geance.” 

11  *  In  this  condition  we  stayed  till  the  bell  rung  for  morning 
prayers.  The  boy  again  told  us  that  there  remained  but  few  devils, 
and  these  were  at  a  great  distance.  When  the  magician  had  per¬ 
formed  the  rest  of  his  ceremonies,  he  stripped  off  his  gown  and 
took  up  a  wallet  full  of  books  which  he  had  brought  with  him. 

“‘We  all  went  out  of  the  circle  together,  keeping  as  close  to  each 
other  as  we  possibly  could,  especially  the  boy,  who  had  placed  him¬ 
self  in  the  middle,  holding  the  necromancer  by  the  coat,  and  me 
by  the  cloak.  As  we  were  going  to  our  houses  in  the  quarter  of 
Banchi,  the  boy  told  us  that  two  of  the  demons  whom  we  had  seen 
at  the  amphitheatre  went  on  before  us  leaping  and  skipping,  some¬ 
times  running  upon  the  roofs  of  the  houses,  and  sometimes  upon 
the  ground.  The  priest  declared,  that  though  he  had  often  entered 
magic  circles,  nothing  so  extraordinary  had  ever  happened  to  them. 

“  ‘  Whilst  we  were  engaged  in  this  conversation,  we  arrived  at 
our  respective  houses,  and  all  that  night  dreamed  of  nothing  but 
devils.’ 

u  Although  Cellini  declares  that  he  was  trembling  with  fear,  yet 
it  is  quite  evident  that  he  was  not  entirely  ignorant  of  the  machi¬ 
nery  which  was  at  work,  for  in  order  to  encourage  the  boy,  who 
was  almost  dead  with  fear,  he  assured  them  that  the  devils  were 
under  their  power,  and  that  ‘  what  he  saw  was  smoke  and  shadow.’ 

“  Mr.  Boscoe,  from  whosedife  of  Cellini  the  preceding  description 
is  taken,  draws  a  similar  conclusion  from  the  consolatory  words 
addressed  to  the  boy,  and  states  that  they  £  confirm  him  in  the  belief 
that  the  whole  of  these  appearances,  like  a  phantasmagoria,  were 
merely  the  effects  of  a  magic  lantern  produced  on  volumes  of  smoke 
from  various  kinds  of  burning  wood.’  If  we  suppose  that  the 
necromancer  either  had  a  regular  magic  lantern,  or  that  he  had 


50 


SCIOPTICON  MANUAL. 


fitted  up  his  concave  mirror  in  a  box  containing  the  figures  of  his 
devils,  and  that  this  box  with  its  lights  was  carried  home  with  the 
party,  we  can  easily  account  for  the  declaration  of  the  hoy,  ‘  that 
as  they  were  going  home  to  their  houses  in  the  quarter  of  Banchi, 
two  of  the  demons  whom  we  had  seen  at  the  amphitheatre  went  on 
before  us  leaping  and  skipping,  and  sometimes  running  upon  the 
roofs  of  the  houses,  and  sometimes  upon  the  ground.'  " 

We  could  hardly,  in  this  enlightened  age,  attain  to 
the  brilliant  success  of  frightening  a  “pure  immaculate 
boy”  out  of  his  senses  with  “smoke  and  shadow,”  even 
were  it  a  laudable  undertaking.  The  delirium  tremens, 
in  a  somewhat  similar  way,  will  doubtless  continue  to 
be  hard  on  older  and  wayward  boys  who  take  to  their 
cups,  but  be  it  ours  to  please  and  instruct,  and  that,  in 
a  more  excellent  way.  A  jet  of  steam  could  be  con¬ 
veniently  arranged  for  the  “ghost”  experiment,  hut  for 
the  most  part,  a  wet  screen  is  better  than  smoke,  and 
effects,  not  only  startling,  hut  truly  beautiful,  can  he  pro¬ 
duced  in  the  way  described. 


CHAPTER  IV. 

PICTURE  SLIDES. 

A  large  number  of  movable  slides,  and  some  others 
of  value,  are  still  painted  entirely  by  hand,  but  the  great 
part  of  simple  slides  now  in  market  are  produced  by 
photography. 

There  are  two  classes  of  photographic  transparencies 
for  the  lantern,  viz.:  instantaneous  and  other  views 
direct  from  nature,  and  reproductions  of  ancient  and 
modern  engravings,  or  paintings.  A  great  part,  espe¬ 
cially  of  the  latter,  are  beautifully  colored  by  skilful 
artists,  and  mounted  in  a  round  form  in  wooden  frames. 


SCIOPTICON  MANUAL. 


51 


Some  idea  of  the  value  of  photography,  associated 
with  the  magic  lantern,  as  an  educational  instrument, 
may  be  gathered  from  the  fact  that  as  the  camera  has 
now  penetrated  to  almost  every  habitable  part  of  the 
globe,  the  physical  peculiarities  of  every  country,  to¬ 
gether  with  lifelike  portraits  of  their  inhabitants,  and 
the  form  and  arrangement  of  their  dwellings,  may  be 
obtained  in  miniature,  and  reproduced  as  large  as  life. 

Photographs  of  the  sun  and  moon  in  various  phases, 
and  partially  and  totally  eclipsed,  also  the  fixed  stars 
and  nebulas,  have  been  obtained  and  employed  for  lecture 
illustrations.  Enlarged  photographs  of  microscopic  ob¬ 
jects  have  also  been  obtained,  and  these  again  still  further 
enlarged  to  8  or  10  feet  in  diameter,  so  that,  in  fact,  a 
diatom  no  larger  than  a  grain  of  sand  may  be  shown 
of  such  a  size  in  the  lecture-room  that  a  large  audience 
may  together  examine  its  details  with  perfect  comfort. 
The  productions  of  the  most  celebrated  painters  and 
sculptors  may  be  shown  with  equal  facility,  as  well  as 
maps,  hymns,  music,  &c.,  so  that  an  entire  school  may 
learn  or  sing  together. 

THE  STANDABI)  SIZE  FOR  EASTERN  SEIOES. 

The  ordinary  wooden  frame  for  the  lantern  picture  is 
7  inches  long,  4  inches  wide,  and  f  of  an  inch  thick, 
with  a  circular  opening  of  inches  to  admit  the  picture- 
glass  and  its  protecting  glass  cover,  and  3  inches  in  the 
clear.  Pictures  3i  inches  square  are  also  mounted  in 
frames  of  the  same  size,  leaving  3  inches  square  in  the 
clear.  Pictures  3i  inches  square,  with  their  protecting 
glass  covers,  are  also  bound  with  narrow  binding,  and 
may  be  slid  along  into  place  in  the  grooves  of  a  station¬ 
ary  frame,  so  as  to  show  3  inches  square. 


52 


SCIOPTICON  MANUAL. 


The  new  Woodbury  slides  are  exactly  quarter  plate 
size  (3£  x  4i),  which  gives  room  at  the  sides  for  naming 
and  for  handling,  and  which  in  turn  gives  assurance  of 
their  being  inserted  in  proper  position. 

Fortunately  each  half  of  a  stereoscopic  view  is  3  inches 
square,  so  that  lantern  slides,  of  standard  size,  can  be 
printed  by  contact  from  stereoscopic  negatives.  Although 
the  demand  for  lantern  slides  has  never  warranted  ex¬ 
tensive  travel  for  desirable  negatives,  yet  the  stereoscope 
has  sent  photographers  “  viewing  ”  high  and  low,  and 
everywhere;  on  the  Alps,  in  the  Yosemite,  in  the  valley 
of  the  Nile,  on  open  Polar  Seas,  and  often  (as  intimated 
by  one  of  their  own  number)  into  distressingly  narrow 
straits. 

Glass  transparencies  made  for  the  stereoscope,  when 
cut  in  two,  with  clear  glass  covers  instead  of  ground- 
glass,  are  extensively  used  for  lantern  slides.  Many  of 
these,  especially  of  the  imported  views,  are  very  fine, 
and  leave  nothing  to  be  desired  when  used  in  the  Sciop- 
ticon.  But  as  a  heavy  deposit  of  silver  is  not  particu¬ 
larly  objectionable  in  the  stereoscope,  many  of  these 
pictures  can  only  be  satisfactorily  shown  upon  the  screen, 
with  an  intense  chemical  light,  if  with  that  even.  When 
the  demand  for  these  fine  views  for  the  lantern  is  suffi¬ 
cient  to  turn  the  attention  of  photographers  to  their 
production,  we  may  look  for  more  good  pictures,  and 
we  hope  at  a  cheaper  rate. 

THE  SEALED  PICTURE. 

A  drop  of  Canada  balsam  between  two  disks  of  plate- 
glass,  on  one  of  which  is  a  beautifully  colored  photo¬ 
graph,  is  skilfully  managed  so  as  to  allow  the  plates  to 
come  almost  in  contact,  with  a  film  of  the  balsam  filling 
all  the  space  between ;  this  makes  the  picture  beautifully 


SCIOPTICON  MANUAL. 


53 


clear,  and  protects  it  from  dust,  and  especially  from  any 
fluid  that  might  accidentally  reach  the  edges  of  the  glass. 
All  the  circular  pictures,  except  the  movables,  at  a  price 
of  over  two  dollars,  are  sealed. 


STATUARY. 

This  class  of  pictures  should  be  photographed  directly 
from  the  statuary,  or  bas-relief,  by  a  skilful  artist,  who 


understands  lighting  and  how  to  secure  the  proper 
degree  and  gradations  of  shading.  It  appears  to  the 


54 


SCIOPTICON  MANUAL. 


best  advantage  when  the  rest  of  the  slide  is  made 
opaque,  so  that  we  may  seem  to  lose  sight  of  the  screen, 
and  see  the  figure  standing  out  in  open  space. 

The  circle,  including  Thorwaldsen’s  Night  (Fig.  18), 
shows  the  size  of  the  round  glass,  and  also  the  appear¬ 
ance  of  one  of  the  most  popular  slides  of  this  class. 
A  female  figure  is  seen  floating  down  to  earth;  around 
her  forehead  is  a  wreath  of  poppy,  indicating  sleep ;  in 
her  arms  are  two  sleeping  children  (Sleep  and  Death) ; 
and  in  their  company  is  the  symbolic  owl. 

T HE  SLIP  SLIDE. 

Fig.  19  represents  a  class  of  movable  slides  most  in 
use  for  amusement;  being  cheap,  easily  operated,  and 
in  shape  to  pack  with  ordinary  slides. 

In  the  slide  represented,  a  peacock  without  a  tail  is 
painted  on  the  immovable  glass,  and  two  tails  are  painted 


Mg.  19. 


on  the  slip.  Both  glasses  are  blackened  except  where 
the  picture  is  to  show;  when  the  slip  is  pushed  in,  the 
bird  appears  with  a  drooping  tail;  when  the  slip  is  drawn 
out,  then  you  will  see  him  spread. 

In  some  of  these  there  is  a  slip  each  side  of  the  fixed 
glass.  In  the  popular  slide  called  the  rat-eater,  a  man 


SCIOPTICON  MANUAL. 


55 


reclining  on  a  bed  is  painted  on  the  fixed  glass,  a  lower 
jaw  on  one  slip,  which  works  np  and  down,  and  a  rat 
on  the  other,  which,  as  the  slip  is  drawn,  has  the 
appearance  of  running  down  the  man’s  throat.  With 
the  Sciopticon,  the  operator  has  hold  of  a  slip  with  each 
hand,  so  he  can  jerk  the  rat  hack  with  a  sudden  move¬ 
ment  of  the  forefinger,  when  he  is  all  ready  to  make  his 
appearance  again  as  a  new  individual.  In  politics  he 
might  be  called  a  “repeater.” 

THE  LEVER  SLIDE. 

Fig.  20  represents  another  popular,  but  a  more  expen¬ 
sive,  mechanical  effect.  The  horse  having  approached 
the  water  with  his  head  up,  the  lever  to  the  right  is 
raised,  and  the  horse  is  “ made  to  drink”  (the  old  adage 
to  the  contrary  notwithstanding).  The  head  and  neck 


Fig.  20. 


being  painted  on  the  glass  moved  by  the  lever,  works 
up  and  down  as  on  a  pivot  at  the  shoulders. 

REVOLVING  FIGURES. 

A  movable  disk  corresponding  to  the  one  moved  by 
the  lever  in  Fig.  20,  may  be  revolved  by  means  of  a  rack 
and  pinion;  of  this  class  is  a  variety  of  chromatropes, 


56 


SCIOPTICON  MANUAL. 


mill-wheels,  the  movable  astronomical  diagrams,  &c. 
Suppose  a  mill  and  the  surrounding  landscape  painted 
on  the  fixed  disk,  and  the  sails  on  the  disk  revolved  by 
rack  and  pinion,  then  on  turning  the  handle,  the  mill 
appears  in  operation. 

THE  CHROMATROPE. 

Fig.  21  represents  the  pulley  form  of  the  chromatrope, 
but  can  give  no  idea  of  the  dazzling  brilliancy  of  the 
effects  it  produces  on  the  screen.  There  is  nothing  it 
resembles  so  much  as  the  kaleidoscope,  with  the  addition 
of  constant  motion  and  rapid  change.  It  consists  of  two 
disks  of  glass,  painted  with  an  almost  endless  variety 
of  geometrical  and  other  designs  in  brilliant  colors.  By 
turning  the  handle  shown  in  the  figure,  the  multiplying 
band  causes  the  rapid  revolution  of  one  disk  over  the 
other,  producing  two  apparent  motions;  and  with  good 
designs  the  result  “  beggars  all  description.” 


Fig.  21. 


In  another  form  the  motion  is  accomplished  by  means 
of  a  double  rack  and  pinion,  instead  of  a  band.  As 
there  are  two  disks,  revolving  one  over  the  other,  eachi 
is  necessarily  furnished  with  a  toothed  rack,  and  the 
one  pinion  works  both. 


SCIOPTICON  MANUAL. 


57 


THE  EIDOTROPE. 

This  valuable  accessory  to  the  magic  lantern  consists 
of  two  perforated  metal  disks,  which,  by  an  arrangement 
precisely  similar  to  the  chromatrope,  are  made  to  re¬ 
volve  one  over  the  other.  The  effects  are  so  beautiful 
as  to  excite  surprise  that  they  should  be  obtained  by  a 
mechanical  contrivance  of  such  extreme  simplicity.  By 
slow  revolution,  hexagonal,  octagonal,  and  other  geo¬ 
metrical  figures  are  obtained,  with  delicate  gradations 
of  shadow;  while  a  more  accelerated  motion  produces 
the  effect  of  stellate  flashings,  or  scintillations  of  light. 
Color  may  be  imparted  by  the  use  of  tinted  films  of 
gelatine.  Larger  disks  can  be  pivoted  to  a  frame  above 
the  condenser  so  as  to  give  an  upward  and  outward 
movement  to  the  scintillations  as  from  a  lower  fountain. 
Stiff  paper  disks  turned  contrary  ways  by  the  hands  at 
their  edges  will  answer  for  practical  experiments. 

MOVING  WATERS. 

Under  this  title  two  forms  of  slides  are  sold;  by  means 
of  which,  in  a  single  or  double  lantern,  very  pleasing 
effects  may  be  produced.  In  the  simplest  form  a  moon¬ 
light  scene  is  painted  on  a  fixed  disk,  and  the  “rippling 
waters”  on  a  piece  of  glass  attached  by  one  corner  only 
to  the  framework  of  the  slide,  which  being  moved  up 
and  down  causes  the  appearance  of  a  ripple  on  the  water. 

Another  more  expensive,  but  more  truthful  effect,  is 
produced  by  a  slide  having  two  movable  and  one  fixed 
disk  of  glass,  and  known  as  the  “  moving  water  with 
eccentric  motion.”  In  this  slide,  not  only  is  the  ripple 
produced,  but  the  heaving  of  a  boat  upon  the  waves,  the 
“rolling  ”  of  the  sea,  and  the  “hovering”  motion  of  birds 
is  imitated  with  surprising  closeness  to  nature. 

5 


58 


SCIOPTICON  MANUAL. 


LONG  SLIDES. 

A  very  large  class  of  paintings,  on  strips  of  glass  12 
or  14  inches  long,  have  come  down  to  us  from  a  former 
generation.  Many  of  them  hardly  deserve  attention, 
but  some  Nursery  Tales,  Natural  History,  &c.,  are  fair, 
and  the  Astronomical  set,  in  particular,  is  excellent. 


Fig.  22. 


This  set  of  ten  astronomical  slides,  with  forty-one 
illustrations,  together  with  a  set  of  astronomical  dia¬ 
grams  with  rack-work  motion,  makes  a  very  complete 
outfit  for  a  series  of  astronomical  lectures. 

DIORAMIC  PAINTIXGS  WITH  MOVING  FIGURES. 

In  the  middle  of  a  glass  strip  (shaped  and  framed  as  in 
Fig.  22),  a  scene  is  painted,  the  rest  being  made  opaque. 
Another  glass  strip,  of  similar  size  and  shape,  on  which 
is  painted  along  its  whole  length  whatever  is  befitting, 
as  figures,  boats,  &c.,  is  made  to  pass  in  front  in  grooves, 
so  as  to  represent  a  long  procession ;  of  this  class,  the 
children  of  Israel  passing  through  the  Bed  Sea  is  an  ex¬ 
ample  ;  or,  the  enterprising  smugglers  secreting  contra¬ 
band  goods  in  the  smugglers’  cave. 

THE  GHOST. 

A  description  of  the  modern  “ghost”  may  be  looked 
for  here,  but  it  is  not  strictly  a  magic  lantern  production. 


SCIOPTICON  MANUAL. 


59 


A  large  plate  of  glass  leans  forward  on  the  front  of  the 
stage,  bat  its  edges  are  so  hidden  by  the  curtains  that  its 
presence  is  not  suspected.  A  “woman  in  white ”  stands 
down  in  front,  concealed  from  the  spectators  by  the  usual 
board  near  the  orchestra,  and  is  highly  illuminated  by 
the  light  from  a  magic  lantern.  The  spectators,  in  the 
darkness  and  distance,  see  the  actors  upon  the  stage 
through  the  glass,  and  also  the  ghost  reflected  from  the 
glass  so  as  to  appear  on  the  stage  with  the  rest.  The 
actors  do  not  see  the  spectre,  but  they  put  on  the  ap¬ 
pearance  of  fright  for  the  benefit  of  the  spectators. 

The  apparition  vanishes  as  the  light  is  withdrawn  from 
“  the  woman  in  white. ”  The  lantern  is  used  because  it 
illuminates  an  object  without  diffusing  light  in  other 
directions. 

On  this  principle  we  may  see  people  in  a  room  through 
a  window,  with  the  reflected  images  of  parties  outside 
standing  among  them.  It  seems  not  a  little  surprising 
to  see  one  person  cutting  through  the  space  occupied  by 
another. 


THE  TANK. 

An  excellent  and  cheap  tank  (similar  to  the  one  shown 
in  Fig.  26),  but  with  permanent  clamps  without  screws, 
is  now  shaped  so  as  to  slide  into  the  Sciopticon  stage 
without  drawing  forward  the  extension  front.  As  the 
space  at  the  top  is  unobstructed,  all  sorts  of  experiments 
with  it  are  easily  managed.  Living  creatures  encaged 
in  it,  in  air  or  water,  figure  upon  the  screen  in  huge  pro¬ 
portions,  and  with  wonderful  activity.  Some  fish  and 
parts  of  many  insects  are  so  transparent  as  to  show  in¬ 
ternal  structure.  Even  opaque  objects,  when  their  out¬ 
lines  are  sharply  focused,  appear  in  relief  unlike  a  mere 
shadow.  With  almost  every  object  thus  shown,  except 


60 


SCIOPTICON  MANUAL. 


fish,  up  and  down  is  a  matter  of  indifference ;  so  that 
inversion  is  no  disadvantage.  With  this  tank  for  the 
exhibition  of  living  objects,  chemical  reactions,  &c.,  a 
large  assortment  of  slides  is  less  of  a  necessity. 

PRECAUTIONS  ABOUT  SLIDES. 

The  lantern  exhibition  has  to  be  conducted  in  so  ob¬ 
scure  a  light  that  the  operator  has  to  depend  more  on 
the  sense  of  feeling  than  sight;  it  is  therefore  important 
that  the  slides  should  be  in  good  condition  and  properly 
arranged  beforehand,  and  that  their  titles  and  descrip¬ 
tions  should  be  well  fixed  in  memory. 

A  convenient  box  for  carrying  the  slides,  for  arrang¬ 
ing  them  in,  and  for  showing  them  from,  is  constructed 
as  follows:  Two  boxes  of  any  desirable  length,  7i  inches 
wide  and  4£  inches  deep,  are  hinged  together,  so  that 
each  serves  as  a  cover  to  the  other.  This  double  box 
will  hold  the  ordinary  wooden  mounted  slides  without 
waste  of  room,  and  when  open  will  show  their  labelled 
edges  in  proper  position  and  order. 

In  social  gatherings,  the  exhibitor  is  often  urged  to 
bring  out  certain  favorite  pictures  on  call,  which,  in  the 
hurry  and  darkness,  is  apt  to  disarrange  the  slides,  so 
as  to  perplex  the  operator,  and  mar  the  beauty  of  the 
entertainment. 

With  careful  management  the  box  may  close  on  prop¬ 
erly  arranged  slides,  at  the  close  of  the  exhibition. 


SOIOPTICON  MANUAL. 


61 


CHAPTER  Y. 

GLASS  POSITIVES  FOR  THE  MAGIC  LANTERNo 

By  John  C.  Browne. 

Few  entertainments  for  the  amusement  of  children, 
as  well  as  persons  of  mature  years,  give  more  real  pleas¬ 
ure  than  exhibitions  of  the  magic  lantern.  It  is  a  never- 
ending  source  of  pleasure,  and  doubly  valuable  to  the 
disciple  of  photography,  who  by  the  aid  of  a  few  chem¬ 
icals  and  very  simple  apparatus,  can  prepare  interesting 
slides  of  local  interest  that  will  delight  the  home  circle, 
and  fully  repay  the  small  expenditure  of  time  required 
for  their  manufacture.  Every  photographer  has  among 
his  negatives  many  subjects,  both  portrait  and  landscape, 
that  when  printed  upon  glass  will  prove  effective  pic¬ 
tures  for  exhibition. 

The  object  of  this  paper  is  to  give  in  as  few  words  as 
possible,  plain  directions  for  making  positives  on  glass, 
suitable  for  the  magic  lantern. 

Either  the  wet  or  dry  process  can  be  used.  The  for¬ 
mer  is  more  applicable  in  cases  where  it  is  necessary  to 
reduce  a  negative  to  the  proper  sized  positive  required 
for  the  lantern.  The  dry  method  is  used  to  advantage 
when  the  negative  is  of  small  size,  and  can  be  printed  in 
contact.  As  all  photographers  are  familiar  with  wet 
manipulations,  we  will  consider  that  process  first. 

The  only  apparatus  actually  required,  is  an  ordinary 
camera  and  lens,  placed  upon  a  board  six  feet  long,  in 
front  of  which  a  negative  is  fastened.  This  negative  is 
simply  copied  upon  a  sensitive  collodion  plate,  that  is 


62 


SCIOPTICON  MANUAL. 


exposed  in  the  camera,  carried  into  the  dark-room,  and 
developed,  fixed,  and  toned. 

If  many  positives  are  to  he  made  from  negatives  of 
different  sizes,  it  will  be  found  convenient  to  arrange 
two  cameras  front  to  front  (as  will  be  seen  in  Fig.  23), 


Fig.  83. 


one  camera  having  a  lens  in  position  with  ground-glass 
No.  1 ;  the  other  having  the  lens  and  ground-glass  re¬ 
moved,  and  the  negative  that  is  to  be  copied  placed  in 
the  position  of  ground-glass  No.  3.  The  cameras,  for 
convenience,  can  be  closely  joined  together  by  screwing 
strips  of  wood  upon  each,  which  prevents  any  change 
of  position  when  focused.  By  turning  the  rack-work 
upon  each  box,  the  picture  upon  the  ground-glass  can  be 
made  of  any  size. 

This  plan  of  using  two  boxes  will  be  found  to  give 
perfect  satisfaction;  the  negative  and  sensitive  plates 
are  always  on  the  same  plane,  and  the  adjustment  for 
difference  of  size  made  in  a  moment.  It  is  only  for 
convenience  of  manipulation,  that  the  writer  advocates 
this  arrangement,  for  excellent  positives  can  be  obtained 
by  using  one  camera,  and  placing  the  negative  to  be 


SCIOPTICON  MANUAL. 


63 


copied  in  proper  position  in  front  of  the  lens,  with  noth¬ 
ing  to  shut  off  the  diffused  light  between  the  lens  and 
negative. 

In  selecting  a  position  for  operations,  a  north  light 
will  be  found  the  best  suited  for  the  purpose.  The 
upper  window  sash  should  he  lowered,  and  the  board 
upon  which  the  cameras  are  arranged  rested  one  end 
upon  a  table,  the  other  upon  the  lowered  sash,  so  that 
the  negative  will  have  the  sky  for  a  background.  This 
is  easily  determined  by  focusing  upon  the  ground-glass. 
It  is  advisable  not  to  allow  the  direct  rays  of  the  sun  to 
illuminate  the  negative.  Should  a  north  light  not  be 
obtainable,  cover  a  frame  with  white  tissue-paper,  and 
let  that  be  the  background  for  the  negative.  The  tis¬ 
sue-paper  can  be  illuminated  with  the  sun’s  rays,  or  by 
any  artificial  light. 

It  may  seem  to  the  reading  photographer,  unneces¬ 
sary  to  burden  this  article  with  a  complete  chemical 
formula  for  making  glass  positives,  but  as  it  is  prepared 
expressly  for  the  uninitiated,  it  would  be  unintelligible 
without  a  formula. 

To  make  8 -oz.  Sensitive  Collodion. — Alcohol  5  oz.,  ether 
3  oz.,  iodide  of  ammonium  44  grs.,  bromide  of  magnesi¬ 
um  20  grs.,  cotton  (Parys’)  35  grs.  Before  using,  filter 
several  times  through  cotton  soaked  in  alcohol.  It  is  a 
good  plan  to  keep  a  supply  of  plain,  unexcited  collodion 
on  hand,  as  a  stock-bottle;  also,  a  bottle  of  exciting  solu¬ 
tion,  made  in  the  proportion  of  iodide  of  ammonium  5 
grains,  bromide  of  ammonium  21  grains,  to  the  drachm 
of  alcohol.  By  adding  1  drachm  of  the  solution  to  1 
ounce  of  plain  collodion,  it  will  be  excited  to  the  proper 
condition. 

Nitrate  Solution. — Water  1  ounce,  nitrate  of  silver  40 
grains;  make  slightly  acid  with  nitric  acid,  C.  P.  Iodize 


64 


wCIOPTICON  MANUAL. 


the  solution  by  allowing  a  plate  coated  with  excited  col¬ 
lodion  to  remain  in  it  over  night.  Filter, 

Developing  Solution. — Make  a  saturated  solution  of 
ammonia,  sulphate  of  iron  (in  water);  filter.  To  every 
ounce  of  this  solution  add  glacial  acetic  acid,  1  drachm. 
This  can  be  used  as  a  stock  solution,  and  will  keep  an 
indefinite  length  of  time  in  good  condition.  Crystals 
will  form  in  the  stock-bottle,  after  standing  some  hours, 
but  that  is  of  no  consequence,  as  the  strength  of  the 
solution  is  correct. 

In  developing  a  plate,  use  5  drachms  of  water  to  2 
drachms  of  ammonio-sulphate  of  iron  from  the  stock- 
bottle.  During  hot  weather  use  ice-water  to  retard  the 
action  of  the  developer. 

Fixing  Solution—  Cyanide  of  potassium  or  hyposul¬ 
phite  of  soda;  either  will  answer,  but  the  action  of 
cyanide  appears  to  make  a  somewhat  brighter  picture. 

These  solutions  being  carefully  prepared,  the  picture 
accurately  focused,  the  negative  (collodion  side  towards 
the  lens)  covered  with  a  dark  cloth,  prepare  the  plate 
in  the  dark-room  in  the  usual  manner,  place  it  in  the 
dark-holder,  in  the  position  of  the  ground-glass,  draw 
the  slide  (the  lens  is  always  uncovered),  remove  ■  the 
cloth  from  the  negative  for  a  few  seconds.  The  expo¬ 
sure  will  then  be  made.  Cover  the  negative,  shut  the 
slide,  and  remove  to  the  dark-room  for  development. 
The  picture  should  appear  slowly;  not  flash  out  upon 
the  first  application  of  the  iron  solution.  Over-expos¬ 
ure,  as  well  as  over-development,  are  both  fatal  to  trans¬ 
parencies.  Mo  trace  of  fog  should  be  visible.  From 
five  to  fifteen  seconds  will  be  found  sufficient,  on  a  bright 
day,  with  a  negative  of  ordinary  strength,  and  the 
chemicals  in  good  order. 

The  Negative — Must  be  sharp ,  of  good  printing  dens! 


SCIOPTICON  MANUAL. 


65 


t y,  and  as  free  as  possible  from  all  defects.  As  the 
magic  lantern  slide  is  generally  3£  x  3i,  it  is  not  desir¬ 
able  to  employ  a  very  large  negative.  6?  x  8£  will 
answer  the  purpose  better  than  a  larger  size.  But  neg¬ 
atives  upon  smaller  glass  will  be  found  to  give  even  finer 
results.  On  the  other  hand,  it  is  very  bad  policy  to 
attempt  to  enlarge  a  positive  to  double  or  treble  the 
size  of  the  original  negative.  The  negative  should  not 
be  smaller  than  the  positive. 

The  Lens. — Any  good  portrait  combination,  of  six  to 
eight  inches  focus,  quarter-inch  stop,  will  work  to  ad¬ 
vantage.  Lenses  of  very  short  focus  and  very  small 
opening,  are  not  recommended. 

The  Development — Should  be  conducted  with  great 
care  and  judgment,  as  it  is  the  most  important  part  of 
the  whole  process.  Bather  underexpose  and  underde¬ 
velop,  and  as  soon  as  the  detail  is  visible,  flood  the  plate 
with  water,  and  check  further  action.  Avoid  an  excess 
of  light  during  development,  and  dread  the  appearance 
of  the  slightest  fogging  as  the  worst  enemy  to  be  en¬ 
countered. 

Fixing  Solution. — Cyanide  of  potassium,  after  which 
wash  well  in  running  water. 

Toning. — It  is  frequently  of  benefit  to  the  positive  that 
it  should  be  toned,  and  at  the  same  time  slightly  strength¬ 
ened,  to  give  contrast  to  the  picture  when  projected  upon 
the  screen  by  a  powerful  light.  Many  chemical  solutions 
may  be  used  to  accomplish  this  purpose.  A  weak  solu¬ 
tion  of  gold  gives  good  results ;  also,  a  dilute  solution  of 
bichloride  of  palladium  can  be  recommended.  In  either 
case  the  solution  is  flowed  over  the  plate,  after  fixing. 
The  positive  is  then  dried  and  varnished. 

The  Finished  Picture — Should  be  free  from  the  slight¬ 
est  appearance  of  fog;  the  high-lights,  the  sky  in  land- 


66 


SCIOPTICON  MANUAL. 


scapes  (except  when  clouds  are  present),  perfectly  clear 
glass.  The  particular  tone  requisite  to  suit  the  positive, 
is  a  matter  of  taste.  A  warm  sepia  will  he  found  suit¬ 
able  for  most  transparencies;  hut  each  operator  must 
exercise  his  own  peculiar  feeling  in  this  matter. 

In  making  positives  to  be  exhibited  by  the  magic  lan¬ 
tern,  it  is  well  to  consider  the  variety  of  light  to  be  used 
in  projecting  the  picture  upon  the  screen.  Where  pow¬ 
erful  illumination,  such  as  the  oxy-hydrogen  or  magne¬ 
sium  lights  are  used,  positives  may  be  made  slightly 
stronger,  showing  more  contrast  than  where  a  weaker 
form  of  illumination  is  employed. 

The  slides  should  be  protected  from  scratches  and 
dust,  by  a  piece  of  clear  glass  of  the  same  size,  neatly 
pasted  on  the  edges  with  muslin. 

Positives  on  glass  can  also  be  made  by  the  wet  pro¬ 
cess,  from  negatives  of  the  proper  size,  by  pasting  a  thin 
strip  of  cardboard  upon  two  edges  of  the  negative  (col¬ 
lodion  side).  The  sensitive  plate  is  prepared  as  usual, 
and  is  placed,  while  in  the  dark-room,  in  close  contact 
with  the  negative,  separated  only  by  the  cardboard.  It 
is  then  exposed  behind  the  negative,  to  diffused  sunlight 
or  artificial  light,  for  a  few  seconds,  returned  to  the. dark¬ 
room,  and  developed.  This  plan  admits  of  no  change 
in  the  size  of  the  negative.  Mr.  L.  J.  Marcy’s  appara¬ 
tus  for  printing  wet  plates  by  lamp-light,  has  given  sat¬ 
isfaction  to  many  who  have  not  an  opportunity  of  mak¬ 
ing  experiments  by  daylight. 

The  proper  size  for  glass  pictures  to  be  used  in  lan¬ 
terns  of  convenient  proportions,  is  a  debatable  subject. 
Glasses  of  31  x  31  being  generally  used,  but  advantages 
are  claimed  for  a  slide  31  x  41,  that  have  some  weight. 
In  placing  this  slide  in  the  lantern,  the  additional  length 
of  the  glass  allows  the  corners  to  be  held  by  the  thumb 


SCIOPTICON  MANUAL. 


67 


and  forefinger,  without  being  visible  upon  the  screen, 
as  is  sometimes  the  case  with  the  square  slide.  Then 
again,  it  is  easier  to  place  in  its  proper  position  (right 
side  up),  having  only  one  chance  of  error  instead  of 
three. 

A  DRY  PLATE  PROCESS  FOR  LANTERN  SLIDES. 

TANNO-GALLIC  PRESERVATIVE.* 

In  considering  the  dry  process,  it  is  but  proper  to 
say  that  a  large  number  of  different  formulas  have  been 
published;  in  fact,  scarcely  half  a  dozen  photographers 
think  alike  on  this  subject.  It  is,  therefore,  impossible 
to  give  a  formula  that  will  give  universal  satisfaction. 
In  preparing  this  paper  for  publication,  it  must  be  dis¬ 
tinctly  understood  that  nothing  new  in  the  way  of  pre¬ 
servative  or  development  is  claimed ;  it  is  simply  one  of 
the  many  methods  for  preparing  dry  plates  that  has 
given  reliable  results. 

The  dry-plate  photographer  must  be  prepared  for 
many  and  great  failures,  and  be  possessed  of  the  greatest 
amount  of  patience  and  nicety  of  manipulation,  for  other¬ 
wise  time  is  wasted,  and  the  best  process  voted  a  failure. 
Commence  with  reliable  chemicals,  and  follow  up  the 
process  with  a  lavish  expenditure  of  water  when  wash¬ 
ing  is  mentioned,  not  only  on  the  collodion  plate,  but 
thoroughly  rinse  the  various  glasses  and  dishes,  and 
particularly  the  fingers ,  between  each  operation.  Use 
as  little  light  as  possible  when  making  or  developing 
dry  plates,  and  be  careful  that  the  light  is  yellow. 

Probably  more  dry  plates  are  ruined,  and  the  par¬ 
ticular  process  used  condemned  as  worthless,  by  the  use 


*  I  am  greatly  indebted  to  my  friend,  Mr.  E.  Wallace,  Jr.,  for  his  kindness 
in  furnishing  me  with  the  formula,  and  showing,  by  his  own  experiments,  the 
valuable  results  to  be  obtained  from  this  process.  J.  O.  Browne. 


68 


SCIOPTICON  MANUAL. 


of  white  light  than  from  any  other  cause.  A  square¬ 
sided  lantern,  having  the  white  glass  removed,  and  yel¬ 
low  substituted,  will  be  found  very  convenient;  either 
gas,  a  candle,  or  kerosene  can  be  used  for  illumination. 

To  prevent  the  collodion  film  slipping  from  the  plate 
during  the  process,  it  is  absolutely  necessary  that  the 
glass  plate  should  be  albumenized.  Wash  the  glass 
(having  previously  roughened  the  edges),  drain,  and 
while  wet  flow  over  it  the  following  solution : 

Albumen  (the  white  of  an  egg),  ....  1  egg. 

Water, . 1  pint. 

Concentrated  Ammonia, . 10  drops. 

Put  the  albumen  in  a  clean  bottle,  then  add  the  water. 
Shake  a  little,  and  add  the  ammonia;  filter  through  a 
sponge ;  dry  in  a  rack. 

COLLODION. 

Any  reliable  collodion  will  answer ;  it  is  best  to  have 
it  quite  thick.  No  backing  is  necessary. 

NEGATIVE  BATH. 

Nitrate  of  Silver, . 45  grains. 

Water, . 1  ounce. 

Made  slightly  acid  with  nitric  acid,  C.P.  Dip  the 
collodionized  plate  in  the  bath,  and  when  properly  ex¬ 
cited,  remove  the  plate,  and  dip  in  a  bath  of  pure  water  ; 
then  wash  under  a  tap  with  running  water.  While  wet 
apply  the 

PRESERVATIVE  SOLUTION. 

Tannin, . 10  grains. 

Gum  Arabic, . 6  “ 

Sugar, . 4  u 

Water, . 1  ounce. 

Filter,  and  add  one  drachm  per  ounce  of 

Gallic  Acid, . 24  grains. 

Alcohol, . 1  ounce. 


SCIOPTICON  MANUAL. 


69 


The  preservative  must  be  fresh.  Three  ounces  of  this 
mixture  will  prepare  half  a  dozen  6£  x  8J  plates. 

If  the  preservative  is  poured  over  the  plate,  apply 
twice,  working  it  well  into  the  film ;  throw  the  first  dose 
away,  and  use  the  second  flowing  for  the  first  applica¬ 
tion  to  the  next  plate. 

The  plates  must  be  carefully  dried,  either  by  natural 
or  by  artificial  heat;  a  hot-water  bottle  will  be  found 
useful  for  that  purpose  should  artificial  heat  be  thought 
best. 

THE  EXPOSURE 

Will  depend  upon  the  strength  of  the  negative,  and 
the  nature  of  the  light ;  a  few  seconds  will  generally  be 
enough.  Close  contact  is  absolutely  required  to  produce 
sharp  positives.  An  ordinary  printing-frame  can  be 
used. 

TO  DEVELOP 

In  a  dark-room,  remove  the  dry  plate  from  the  frame, 
place  it  in  a  dish,  and  flow  over  it 

Alcohol, 

Water, 

Then  wash  in  running  water. 

DEVELOPING  SOLUTIONS. 

Pyrogallic  Acid, . 2  grains. 

Water, . 1  ounce. 

Made  from  a  stock-bottle  of 

Alcohol, . 1  ounce. 

Pyrogallic  Acid, . 96  grains. 

Five  minims  of  this  solutions  contains  one  grain  of 
pyro. 


|  equal  parts. 


70 


SCIOPTICON  MANUAL. 


ALKALINE  SOLUTIONS. 


Carbonate  of  Ammonia, . 64  grains. 

Water, . 1  ounce. 

Bromide  of  Potassium, . 4  grains. 

Water, . 1  ounce. 

Mix  together. 


After  the  plate  is  well  washed,  flow  over  it  a  solu¬ 


tion  of 

Pyrogallic  Acid, . 2  grains. 

Water, . 1  ounce. 


Then  pour  back  again  into  the  measure.  Should  the 
image  be  developed  by  this  solution,  proceed  very  cau¬ 
tiously,  and  add  a  few  drops  of  the  alkaline  solution  of 
carbonate  of  ammonia  and  bromide  of  potassium.  If 
the  picture  comes  out  slowly,  add  more  of  the  alkaline 
solution  up  to  thirty  drops,  if  necessary,  and  also  a  suf¬ 
ficient  amount  of  stronger  pyro  to  bring  out  all  the 
detail.  When  the  image  is  out,  wash  with  water,  and 
intensify  with 

Pyrogallic  Acid,  ...  2  grains. 

Water,  . . 1  ounce. 

To  which  is  added  ten  drops  of  citric  acid  and  nitrate 
of  silver  solution. 

Citric  Acid, . 30  grains. 

Nitrate  of  Silver, . 20  11 

Water, . 1  ounce. 

This  is  a  stock-bottle.  Mix  in  separate  glasses ;  add 
together  and  filter;  wash. 

FIXING  SOLUTION. 

Hyposulphite  of  soda. 

TONING  SOLUTION. 

The  same  remarks  applied  to  wet  positives  will  answer 
for  toning  dry  plates. 


SCIOPTICON  MANUAL. 


71 


THE  COMiODIO-CHXORIBE  PROCESS. 

(From  Humphrey’s  Journal.) 

The  following  formula  is  not  only  used  for  opal  pic¬ 
tures,  but  to  some  extent  for  transparencies  also. 

1.  Take  the  whites  of  two  eggs  and  two  ounces  of 
water,  beat  well  to  a  froth,  and  let  it  settle  for  two  hours 
and  pour  off  the  clear  solution. 

2.  Coat  your  white  plate  with  this  solution  (as  you 
would  with  collodion),  and  set  away  to  dry.  When 
dry  take  in  your  dark-room  and  coat  the  plate  with 
the  “  opal  solution,”  which  is  made  thus: 

Plain  collodion  8  oz.  (thinner  than  you  would  use  for 
iodizing),  then  dissolve  in  as  little  water  as  possible  60 
grains  nitrate  of  silver,  and  add  this  to  the  collodion  and 
shake  well.  Then  dissolve  16  grains  of  strontium  in  as 
little  water  as  possible,  and  add  this  to  the  collodion  and 
shake  well.  Then  dissolve  10  grains  citric  acid  in  as 
little  water  as  possible,  and  add  to  the  collodion.  Shake 
well,  and  you  have  the  opal  solution. 

When  dry,  put  your  negative  in  the  printing-frame, 
lay  the  opal-prepared  plate  on  the  negative,  and  print 
from  10  to  15  minutes  in  the  sun,  and  print  much  darker 
than  you  would  a  photograph. 

Tone  and  fix  as  you  would  a  photograph,  only  you 
need  not  wash  before  toning — and  wash  but  little  before 
fixing.  The  “opals”  tone  in  one-tenth  the  time  of  a 
photograph. 

Keep  the  opal  preparation  in  a  dark-room.  Have  your 
toning  bath  a  little  alkaline,  and  not  as  strong  as  for 
toning  photographs. 


72 


SCIOPTICON  MANUAL. 


MARCT’S  PHOTOGRAPHIC  PRINTING  APPARATUS  FOR 
PRINTING  WET  PEATES  BY  LAMPLIGHT. 

This  apparatus  is  intended  to  simplify  the  process  of 
printing  lantern  transparencies.  Its  rationale  will  be 
seen  at  a  glance. 

Sharp  photographic  printing  without  a  camera,  can  be 
effected,  either  by  having  the  negative  in  actual  contact 
with  the  sensitive  plate ,  however  widespread  the  light,  or 
else  by  having  an  intense  light  proceeding  from  a  single  point , 
though  the  plates  may  be  wide  apart.  In  the  latter  case 
the  point  of  light  should  be  distant  compared  with  the 
space  between  the  plates,  to  avoid  enlargement.  A 
sharpness  above  criticism  is  produced  by  this  printing 
apparatus,  not  by  an  absolute  compliance  with  either 
condition,  but  by  an  approximate  observance  of  both. 


Fig.  24. 


It  consists  of  an  upright  frame  in  which  the  sensitive 
plate  is  held  slightly  separate  from  the  negative,  and  a 
coal  oil  lamp,  from  which  the  light  of  a  wide  flat  flame 
is  emitted  through  a  narrow  horizontal  slit — small  and 
at  considerable  distance  from  the  frame  to  produce  a 
sharp  print,  and  in  range  with  the  long  diameter  of  the 


SCIOPTICON  MANUAL. 


73 


flame  to  get  intensity  from  a  single  point.  A  narrow 
strip  of  glass  sets  into  this  slit  as  between  two  lips.  The 
thickness  of  the  flame  gives  the  horizontal  diameter  of 
the  point  of  light.  Only  the  front  of  the  lamp  is  shown 
at  the  right  of  Fig.  24,  but  it  can  be  seen  how  the  light 
from  the  whole  width  of  the  flame  reaches  the  printing- 
frame  through  the  narrow  aperture. 

At  the  left,  we  see  how  the  negative  is  held  over  the 
opening  in  the  frame  by  four  springs ;  the  long  spring 
on  the  opposite  side  holds  the  sensitive  plate  in  the 
frame. 

The  operator,  standing  on  the  opposite  side,  with  the 
upper,  corners  of  a  quarter  plate,  just  from  the  bath, 
between  his  thumb  and  finger,  and  shading  off  direct 
rays  with  his  left  hand,  places  it  in  its  silver  bearings ; 
this  brings  the  two  films  almost  in  contact. 

The  lamp  and  frame  stand  from  16  to  26  inches  apart, 
or  so  far  as  to  require  about  two  minutes  for  the  print¬ 
ing,  or  the  time  it  takes  for  a  round  of  the  other  manipu¬ 
lations  and  changes;  so  a  picture  is  finished  and  dropped 
into  grooves  in  a  trough  of  water  as  often  as  one  has 
had  time  to  print. 

All  that  is  said  in  the  previous  article  on  the  wet- 
plate  process,  in  regard  to  development,  &c.,  applies 
here.  Any  drops  of  silver  bath  that  may  have  come  in 
contact  with  the  negative  must  be  washed  off  before  it 
is  put  away. 

Like  dry-plate  printing,  the  negative  must  be  of  the 
exact  size  required  for  the  lantern  slide. 

Some  of  the  advantages  of  this  method  are : 

1.  It  can  be  practiced  evenings  or  in  cloudy  weather. 

2.  The  light  is  inexpensive. 

3.  Plate  glass  is  not  a  necessity. 

6 


74 


SCIOPTICON  MANUAL. 


4.  The  apparatus  may  stand  within  reach  of  the 
operator. 

5.  It  requires  no  previous  preparation  more  than 
having  clean  glass,  and  chemicals  in  good  working 
order. 

6.  The  albumen  coating  is  not  required  to  make  the 
film  adhere. 

7.  The  amount  of  exposure  can  be  definitely  gauged. 

8.  The  illumination  is  confined  to  a  narrow  cone,  so 
as  not  to  fog  the  picture  by  diffused  light. 

9.  The  exposure  is  so  immediate  and  uniform  as  to 
escape  many  accidents. 

10.  It  is  so  easily  done,  that  many  causes  of  failure 
involved  in  a  long  process  are  not  encountered. 

11.  The  negative  is  not  marred  by  use  as  in  contact¬ 
printing. 

12.  This  apparatus  complete  costs  but  seven  dollars. 

Thus  we  have  in  it  advantages  by  the  dozen. 

THE  SCIOPTICON  PROCESS. 

By  placing  the  Sciopticon  near  a  wall,  in  a  dark  room, 
and  drawing  forward  its  extension  front,  an  image  of  a 
negative  may  be  projected  into  a  three-inch  circle.  First 
focus  sharply  on  a  paper-covered  glass,  and  then  expose 
a  wet  plate  in  the  same  place  a  minute,  more  or  less, 
developing  and  fixing  as  usual,  and  we  have  a  glass  posi¬ 
tive  photographed  by  the  Sciopticon  for  the  Sciopticon. 

The  objective  is  always  used  with  full  opening,  because 
all  the  light  is  needed,  and  because  it  will  not  give  an 
evenly  illuminated  disk  with  a  small  stop;  so  we  cannot 
secure  perfect  sharpness  to  the  very  edges.  It  answers 
well,  however,  for  central  figures,  and  the  photographer 
can  easily  produce  unexceptionable  positives  from  his 


SCIOPTICON  MANUAL. 


75 


portrait  negatives.  There  seems  no  reason  why  enlarge¬ 
ments  made  in  this  way,  for  ornamental  transparencies , 
to  be  hung  in  the  window,  or  set  in  a  frame,  should  not 
become  a  profitable  branch  of  photography. 

The  toning  of  glass  positives,  to  be  used  for  orna¬ 
mental  purposes,  involves  some  thought  as  to  the  par¬ 
ticular  color,  or  shade  of  color,  that  will  suit  the  picture 
best;  and  it  is  impossible  to  give  one  process  that  will 
suit  all  tastes  alike;  some  having  a  preference  for  black 
tones,  others  for  blue-black,  brown,  or  the  various  shades 
of  gray.  A  detailed  description  of  the  manner  of  pro¬ 
ducing  these  various  tones  would  require  too  much  space, 
and  is  so  simple  that  no  one  can  go  astray. 

The  principal  chemicals  required  are :  Chloride  of 
gold,  bichloride  of  platinum,  bichloride  of  palladium, 
sulphide  of  potassium,  and  permanganate  of  potassium; 
in  all  cases  use  singly  and  very  dilute.  I  am  disposed 
to  consider  chloride  of  palladium  as  the  most  reliable 
chemical  that  has  come  under  my  notice.  Its  action  is 
perfectly  manageable,  easy  to  prepare,  will  not  stain, 
and  gives  uniformly  good  results.  The  toning  solution 
that  I  use  is  made  as  follows :  Add  six  drops  from  the 
stock-bottle  of  chloride  of  palladium  to  each  ounce  of 
water;  this  solution  should  be  of  a  delicate  straw  color. 
]STo  other  manipulation  is  required.  After  the  plate  has 
been  developed  and  fixed,  wash  as  usual,  then  apply  the 
toning  solution  by  flowing  it  over  the  plate  similarly  to 
the  developer.  Its  action  will  be  quick,  giving  a  black 
tone  to  the  positive.  Wash  well,  dry,  and  varnish  if 
desirable. 

These  transparencies  are  covered  and  bound  with  an 
opal  or  ground-glass,  or  they  may  be  flowed  with  a  var¬ 
nish  containing  a  little  fine  zinc  paint,  ground  in  varnish. 

It  may  be  mentioned  in  this  connection,  that  artists 


76 


SCI  OPTICON  MANUAL. 


find  the  Sciopticon  very  useful  in  sketching  their  pictures. 
Having  first  obtained  a  glass  positive  or  negative  of 
the  subject  to  be  painted,  it  can  be  thrown  upon  the 
canvas  of  the  size  desired,  and  expeditiously  and  accu¬ 
rately  traced.  It  saves  valuable  time  to  the  good  artist, 
and  it  prevents  the  poor  artist  from  producing  distor¬ 
tions. 


WOODBURY  PHOTO-RELIEF  EXCELSIOR  LANTERN 
SLIDES. 

By  John  C.  Browne. 

While  it  is  a  comparatively  easy  matter  to  produce 
fine  positives  by  either  the  wet  or  dry  process  of  pho¬ 
tography,  yet  the  results  are  liable  to  vary  somewhat 
even  in  the  hands  of  the  most  careful  manipulator.  The 
Woodbury  photo-relief  process,  as  now  worked  in  Phila¬ 
delphia,  has  the  merit  of  distancing  all  competition  in 
the  uniform  excellence  of  its  lantern  slides.  It  would 
be  a  pleasure  to  give  in  detail  a  description  of  this  won¬ 
derful  process,  did  space  permit,  commencing  with  the 
sensitive  gelatine  tissue,  resembling  in  appearance  a 
piece  of  patent  leather,  and  following  it  in  its  exposure 
to  light  under  a  negative,  the  light's  action  rendering 
insoluble  those  parts  reached  through  the  negative;  its 
subsequent  immersion  in  hot  water  dissolves  out  those 
parts  not  rendered  insoluble,  producing  a  relief  as  thin 
as  writing  paper,  which  when  dry  is  pressed  into  a  piece 
of  soft  metal  by  a  hydraulic  press  of  fabulous  power, 
forcing  this  delicate  substance  into  the  smooth  metal, 
and  leaving  upon  its  surface  a  counterpart  or  mould  of 
all  its  finest  lines  and  half  tones.  Strange  to  say  this 
flimsy  gelatine  relief  is  not  crushed  to  atoms  by  this 


SCIOPTICON  MANUAL. 


77 


treatment.  It  is  not  damaged  in  the  least,  but  ready 
to  make  its  mark  again  as  often  as  it  is  necessary. 

This  leaden  mould  is  the  type  that  prints  the  picture, 
a  solution  of  gelatine  and  India-ink  being  poured  over 
it  before  the  glass  is  placed  in  position. 

A  slight  pressure  is  given  in  a  press  of  peculiar  con¬ 
struction,  squeezing  out  the  surplus  ink;  a  few  minutes 
is  allowed  the  ink  to  set,  when  the  glass,  being  removed, 
brings  with  it  the  delicate  gelatine  picture,  which  is  well 
named  “Excelsior.” 


CHAPTER  YI. 

COLORING  SLIDES. 

WRITTEN  FOR  THE  SCIOPTICON  MANUAL. 

The  magic  lantern  has  caused  much  astonishment 
and  delight  from  its  origin  to  the  present  time.  The 
pictures  or  slides  for  it  were  formerly  drawn  or  painted 
on  glass,  and  when  magnified  by  the  lantern  lens,  even 
the  most  minute  lines  looked  coarse,  and  every  imper¬ 
fection  was  brought  out.  Much  time  and  care,  therefore, 
were  requisite  to  make  fine  pictures,  so  that  they  were 
comparatively  rare  and  expensive,  while  the  coarser 
ones  abounded  j  thus  the  lantern  came  to  be  regarded 
as  a  toy,  fit  only  for  the  amusement  of  children.  An 
instrument,  however,  so  well  calculated  to  aid  in  the 
advancement  of  science  and  education,  on  account  of 
the  size  of  the  diagram  that  may  be  represented  on  the 
disk,  and  the  fact  that  the  attention  of  an  audience  is 
better  secured  when  the  only  object  visible  is  the  dia- 


78 


SCIOPTICON  MANUAL. 


gram  under  explanation,  was  not  to  be  thrown  aside  as 
a  toy. 

Photography,  by  its  wonderful  sun  paintings  on  glass, 
reproduces  the  works  of  the  old  masters,  furnishes  views 
of  every  land  and  clime,  of  customs,  manners,  works  of 
art,  and  pictures,  or  diagrams,  to  illustrate  every  science, 
the  beauty  of  which,  when  colored  and  thrown  upon  the 
screen,  however  great  the  magnifying  power  used,  is  not 
diminished,  as  was  the  case  with  the  paintings  formerly 
used.  With  beautiful  and  desirable  pictures,  and  with 
improved  lights  and  instruments,  the  lantern  now  takes 
a  front  place  in  Sunday-school  work,  in  the  school,  the 
lecture-room,  and  the  home,  and  is  gladly  welcomed 
wherever  visible  illustrations  are  used,  or  beautiful  pic¬ 
tures  prized.  While  the  stereoscope  presents  the  life¬ 
like  photographs  to  the  individual  observer,  the  lantern 
enlarges  the  same  views,  so  that  many  may  see  and  enjoy 
at  the  same  time  the  same  beautiful  scenes  together, 
making  it  well  suited  to  the  social  gathering  and  enter¬ 
tainment  of  friends.  Families  may  have  slides  prepared 
containing  pictures  of  family  residences,  of  members  of 
the  family,  of  favorite  dogs,  horses,  &c.,  thus  increasing 
the  pleasures  of  home,  and  social  intercourse. 

The  coloring  or  painting  of  slides  for  the  magic  lan¬ 
tern  has  been  confined  to  comparatively  few  artists, 
the  great  care  and  nicety  of  execution  required,  making 
it  a  difficult  art  to  attain,  while  the  old  preparation  of 
varnish  colors  placed  difficulties  in  the  way  of  even  the 
most  practiced  artists. 

Water  colors  are  now  prepared  expressly  for  painting 
on  glass,  so  that  any  one  possessing  a  moderate  knowl¬ 
edge  of  drawing,  with  some  skill  in  the  use  of  colors, 
may  succeed.  None  but  transparent  colors,  or  those 
through  which  light  is  transmitted,  can  be  used,  making 


SCIOPTICON  MANUAL. 


79 


the  number  of  colors  available  for  painting  on  glass 
necessarily  limited.  The  most  valuable  for  this  purpose 
are  the  moist  water  colors  procurable  in  metallic  collaps¬ 
ible  tubes :  for  yellow,  Indian  yellow,  Italian  pink,  and 
yellow  lake  ;  for  blue,  Prussian  blue  and  indigo ;  for  red, 
madder  lake,  crimson  lake,  and  scarlet  lake  ;  for  orange, 
burnt  sienna;  for  brown,  madder  brown, Yandyke  brown, 
sepia,  and  burnt  umber;  for  black,  India-ink  and  lamp¬ 
black  ;  for  purple,  purple  lake,  or  red  and  blue  mixed ; 
for  green,  mix  yellow  and  blue;  for  scarlet,  red  and 
yellow.  A  white  porcelain  palette,  free  from  specks  and 
grit,  is  the  best  upon  which  to  mix  and  arrange  the 
colors.  Use  soft  water  for  mixing  the  tints.  For  cake 
colors,  use  a  weak  gum  water,  taking  care  to  have  it 
quite  dilute  to  prevent  the  colors  cracking  or  peeling 
off ;  place  each  tint  on  a  separate  slab  or  saucer. 

A  suitable  easel  for  holding  the  glass  to  be  painted,  is 
shown  in  the  diagram  (Fig.  25);  this  is  a  sloping  frame, 
holding  %  sheet  of  glass,  so  arranged  that  it  can  be  placed 
at  any  angle,  and  any  convenient  height  for  the  artist. 


The  glass  or  photograph  to  be  painted,  should  be  placed 
upon  the  clear  glass  in  the  frame  (as  shown  at  B ).  Upon 
the  base  board  (A)  is  spread  a  sheet  of  pure  white  paper 
to  reflect  up  the  light  through  the  painting ;  the  light 
should  fall  on  it  from  the  left  hand,  and  is  best  obtained 


80 


SCIOPTICON  MANUAL. 


from  a  window  facing  the  north  sky.  Glass  has  a  smooth 
and  a  rough  side ;  the  smooth  side  is  that  on  which  the 
drawing  is  to  be  made  ;  it  may  readily  be  determined  by 
drawing  the  finger-nail  over  the  surface.  The  glass 
should  be  carefully  cleaned  with  water,  to  which  a  solu¬ 
tion  of  ammonia  has  been  added.  A  fine  brush,  or  cheap 
gold  pen,  may  be  used  for  drawing  outlines,  which  should 
be  made  with  colors  suited  to  the  part  of  the  painting 
for  which  they  are  to  be  used;  the  foreground  being 
drawn  with  bolder  lines  than  those  more  remote. 

One  of  the  most  difficult  things  to  accomplish  in  trans¬ 
parent  painting  on  glass,  perhaps,  is  to  lay  on  a  uniform 
tint,  free  from  lines  or  specks ;  as  a  clear  blue  sky  with¬ 
out  clouds.  The  brush  should  be  well  charged  with  the 
blue  tint,  and  the  color  spread  or  floated  upon  the  glass 
as  evenly  as  possible,  and  afterwards  equalized  by  a 
careful  application  of  the  brush  dabber  :  that  is  a  camel- 
hair  brush  cut  down  (as  shown  in  Fig.  25),  the  edge  of 
which  being  afterwards  passed  through  a  flamq  so  as  to 
remove  any  straggling  hairs.  The  finger,  also,  may  be 
used  as  a  dabber,  and  when  used  with  dexterity,  is  very 
effective.  To  take  out  the  necessary  lights,  as  those  of 
clouds,  and  to  soften  the  edges,  a  stump  made  of  leather 
or  paper  may  be  used.  In  coloring  photographs  the  out¬ 
line  and  shading  are  provided;  so  that  flat  washes  of 
color  are  to  be  laid  on,  and  then  retouched  and  improved ; 
avoid  covering  the  deepest  shadows,  thus  destroying 
their  transparency.  Breathe  on  it  sufficiently  to  moisten 
the  colors,  and  carefully  blend  and  harmonize  the  tints; 
commence  with  the  sky,  then  the  middle  distance  should 
be  worked  out,  lastly  the  foreground.  As  the  pictures 
are  necessarily  small,  a  magnifying  hand  lens,  such  as 
is  used  by  artists  for  fine  work,  is  desirable  to  assist  one 
in  coming  close  to  the  lines  with  washes  of  color. 


SCIOPTICON  MANUAL. 


81 


The  brushes  should  be  sable,  of  moderate  size,  and 
soft  to  the  touch,  and  when  charged  with  water,  come 
to  a  good  point  without  straggling  hairs;  some  prefer  a 
flat  brush  instead  of  a  round  one.  It  is  well  to  have  a 
sufficient  number  of  brushes,  and  to  use  a  different  one 
for  each  tint.  A  piece  of  cloth  should  be  used  for  clean¬ 
ing  brushes  and  dabbers,  as  neatness  is  very  essential  to 
success.  An  ordinary  round-pointed  pocket  knife  will 
be  found  useful  for  removing  color.  Etching-needles 
may  be  used  for  making  minute  touches  of  light,  as  on 
spears  of  grass;  winter,  snow,  spring,  and  moonlight 
effects  are  produced  chiefly  by  the  skilful  use  of  the 
knife  and  needle-points,  to  remove  the  color  and  produce 
strong  white  light  in  the  picture.  As  pictures  vary 
much  in  style,  it  would  be  difficult  to  give  directions 
which  would  apply  to  all.  Beginners  should  copy  well- 
painted  lantern  slides  at  first,  as  this  would  guide  in  the 
colors  to  be  used.  Practice  on  waste  pieces  of  glass 
and  noting  the  effect  in  the  lantern,  would  also  prove 
beneficial  and  accustom  the  artist  to  regulate  the  tones 
of  the  picture  in  the  best  manner.  When  the  picture 
is  finished,  it  should  be  protected  by  a  thin  transparent 
varnish,  such  as  photographers  use,  or  a  thin  coat  of 
Canada  balsam.  To  prevent  scratching,  a  glass,  the  same 
size  as  the  picture,  should  be  laid  over  it ;  and  to  prevent 
injuring  from  contact,  a  narrow  rim  of  paper  should  be 
interposed  between  the  glasses;  they  can  then  be  bound 
or  framed. 

“  Aniline  colors  have  been  used  for  photographic  views 
with  some  success.  They  are  brilliant  and  transparent, 
but  require  careful  use  to  prevent  the  tints  running  one 
into  the  other.’’ 

Comic  slides  are  often  painted  in  a  coarser  manner, 
and  oil  paints  are  used.  The  method  is  very  similar  to 


82 


SCIOPTICON  MANUAL. 


that  given  for  water  colors :  the  same  kinds  of  brushes, 
dabbers,  and  the  same  list  of  colors  are  used.  The  paints 
employed  are  sold  in  tubes  ;  mastic  varnish  diluted  with 
turpentine  is  used  as  a  vehicle,  sugar  of  lead  as  a  drier. 
Comic  or  slip  slides  are  generally  painted  on  two  pieces 
of  glass,  one  of  which  is  firmly  fixed  in  the  frame,  the 
other  movable;  these  glasses  are  so  adjusted,  that  when 
the  sliding  glass  is  pulled  out,  an  effect  is  produced  which 
differs  entirely  from  that  shown  when  the  glass  is  pushed 
in;  as,  for  example,  “The  Windy  Day;”  the  lady  is 
seen  passing  along,  fashionably  dressed  and  equipped; 
the  slip  being  drawn,  she  is  shown  in  sad  plight  by  the 
turned  parasol,  loss  of  false  hair,  bonnet,  &c. ;  or  a 
beautiful  lily  or  tulip  is  seen ;  the  slip  is  drawn,  and  a 
lovely  fairy  seems  to  float  up  from  the  flower.  Chroma- 
tropes  are  constructed  of  two  circular  pieces  of  glass 
painted  from  the  centre  to  the  circumference  of  the 
circle  with  variously  tinted  rays  and  patterns,  these  are 
framed  in  brass  frames,  having  grooves  around  them 
turned  face  to  face,  and  when  made  to  revolve  reversely 
throw  out  beautiful  and  brilliant  hues;  according  to  the 
way  in  which  they  are  made  to  turn,  they  expand  or 
contract. 

Statuary  gives  a  much  better  effect,  if  the  glass  around 
it  is  covered  with  some  opaque  paint.  Lampblack 
ground  very  fine  with  mastic  varnish,  a  few  drops  of 
oil  of  cloves,  and  then  brought  to  the  right  consistency 
with  turpentine,  is  perhaps  the  best,  as  it  does  not  rub 
off.  “  Opaque,”  an  article  manufactured  by  Mr.  Gihon, 
of  Philadelphia,  is  more  easily  applied,  being  used  with 
water,  and  answers  every  purpose. 

Figures  which  appear  on  the  screen  as  black  shadows, 
may  be  painted  on  the  glass  with  these  materials;  or,  to 
produce  the  same  effect,  designs  may  be  cut  from  paper 


SCIOPTICON  MANUAL. 


83 


and  pasted  on  the  glass.  Glass  may  be  smoked  or  cov¬ 
ered  with  opaque  paint,  and  diagrams  scratched  upon  it 
with  a  needle-point  or  sharp  knife;  the  light  passing 
through  these  lines  appearing  on  the  screen  as  a  white 
chalk  diagram  on  a  blackboard.  Still  another  way  of 
preparing  diagrams  is  to  dissolve  gelatine,  such  as  is 
used  in  cooking ;  strain,  and  pour  it  over  the  glass,  form¬ 
ing  a  thin  film  on  its  surface.  When  this  is  dry,  the  dia¬ 
gram  is  scratched  on  as  before,  and  soft  lead  rubbed  over 
the  lines.  Mottoes  may  be  photographed  on  glass,  and 
then  colored,  or  the  designs  drawn  with  the  pen  or 
brush,  and  colored. 

The  Sciopticon  is  extremely  well  adapted  for  experi¬ 
ments  and  amusements,  as  its  front  lens  can  be  drawn 
out,  giving  ample  space  for  the  introduction  of  figures 
and  such  like.  Small  china  and  wooden  dolls,  with  but 
slight  tissue-paper  dress,  may  be  made  to  twirl  or  move 
about  in  many  curious  ways;  those  with  perfect  faces 
are  the  best.  They  of  course  must  be  suspended  by  a 
silk  or  wire  attached  to  the  feet ;  but  a  hint  is  sufficient. 
Lizards,  fish,  and  insects  in  the  tank  are  always  pleasing 
because  they  move.  When  one  has  but  few  slides,  the 
entertainment  may  be  varied  by  introducing  some  of 
the  home-made  objects,  thus  affording  much  amusement, 
with  but  slight  expense  and  trouble. 


CHAPTEB  VII. 

CHEMICAL  EXPERIMENTS. 

CONTRIBUTED  BY  PROP.  HENRY  MORTON,  Ph.  D. 

President  of  the  Stevens  Institute  of  Technology,  Hoboken,  H.  J. 

In  addition  to  the  use  of  the  magic  lantern  in  its 
original  office  of  exhibiting  pictures,  it  will  admit  of  a 
great  variety  of  applications  which  enable  the  operator 


84 


SCIOPTICO  N  MANUAL. 


Fig.  26. 


to  produce  countless  variations  in  the  effects  developed, 
by  which  an  endless  variety  and  constant  novelty  can 
be  secured. 

For  this  purpose  there  is  needed  in  the  first  placed  the 

simple  apparatus 
shown  in  our  wood 
cut,  consisting  of  a 
small  tank,  made  by 
securing  two  plates 
of  glass,  about  4x5 
inches,  with  four 
clamps,  against  a 
strip  of  rubber 
about  i  inch  thick, 
bent  into  the  three 
sides  of  a  rectangle 
and  notched  at  the  corners  to  facilitate  its  bending. 

We  then  require  one  or  more  glass  pipettes  provided 
with  elastic  balls,  such  as  are  made  by  the  rubber  manu¬ 
facturers.  This  little  apparatus  is  shown  in 
Fig.  27,  where  A  is  the  rubber  ball,  B  the 
glass  globe  of  the  pipette,  and  C  its  point 
drawn  to  a  moderately  fine  orifice. 

A  few  small  pipettes  made  by  simply  draw¬ 
ing  short  pieces  of  glass  tube  to  a  fine  point, 
are  also  useful. 

In  addition,  a  few  bottles  with  such  ordi¬ 
nary  chemicals  as  will  be  mentioned  further 
on,  will  complete  the  outfit. 

Having  placed  the  tank,  three-quarters  full 
of  water,  as  an  object  in  the  lantern,  a  num¬ 
ber  of  chemical  reactions  can  be  shown,  aa 
follows : 

Experiment  1st.  Pour  in  a  little  solution  of  sulphate 


Fig.  27. 


SCIOPTICON  MANUAL. 


85 


of  copper,  and  mix  it  well  with  the  water  of  the  tank, 
then  with  the  pipette  run  in,  with  more  or  less  force, 
some  diluted  ammonia,  pausing  from  time  to  time  to 
observe  the  progress  of  the  effect.  On  the  screen  will 
be  observed  the  gathering  of  a  tempest  of  black  storm- 
clouds,  which  twirl  around  in  violent  commotion,  as  if 
urged  by  a  tornado  of  wind,  but  as  the  action  continues, 
these  clouds  will  melt  away,  and  leave  the  entire  field 
of  a  serene  and  beautiful  sky-blue. 

By  now  throwing  in  some  diluted  sulphuric  acid,  the 
same  changes  can  be  reproduced,  and  so  on  alternately 
for  a  number  of  times.  Then  when  the  tank  is  clear, 
with  an  excess  of  acid,  let  fall  a  few  drops  of  a  solution 
of  ferrocyanide  of  potassium  from  a  small  pipette,  and 
rich  red  curdled  clouds  of  ferrocyanide  of  copper  will 
form  with  a  beautiful  appearance. 

Experiment  2d.  Having  rinsed  the  tank,  or  taken  a 
fresh  one  with  water  in  it  as  before,  add  to  this  some 
solution  of  litmus,  until  the  whole  acquires  a  purplish- 
blue  tint.  How  throw  in  very  gently  a  little  very  dilute 
acid,  and  allow  it  to  diffuse.  On  the  screen  will  appear 
the  image  of  a  beautiful  sunset  sky,  with  its  changing 
tints  of  drifting  clouds. 

When  all  has  changed  to  red,  add  ammonia,  and  so 
reverse  the  change,  which  may  then  be  repeated. 

Experiment  3d.  Proceed  exactly  as  in  the  last  case, 
but  with  a  solution  of  cochineal  in  place  of  litmus.  The 
red  color  will  then  be  changed  by  the  acid  to  a  brilliant 
yellow,  and  by  ammonia  to  a  rich  purple. 

Experiment  4th.  Into  a  tank  of  water  drop  slowly  a 
strong  solution  of  the  acid  perchloride  of  tin.  This 
on  the  screen  will  resemble  the  eruption  of  a  submarine 
volcano. 

When  a  pretty  strong  solution  has  thus  been  made  in 


86 


SCIOPTICON  MANUAL. 


the  tank,  put  in  it  a  strip  of  sheet  zinc,  and  long  leaf¬ 
like  blades  of  metallic  tin  will  at  once  be  seen  to  shoot 
out  in  all  directions. 

Experiment  5th.  Make  a  concentrated  solution  of 
crystals  of  urea  in  alcohol  of  about  95  per  cent.  (The 
common  85  per  cent,  alcohol  will  not  answer.)  Let  a 
few  drops  of  this  fall  on  a  glass  plate,  and  with  the 
finger  spread  it  rapidly  over  the  surface,  and  then  at 
once  place  it  as  an  object  in  the  lantern.  After  about  a 
minute,  blow  gently  on  the  plate  with  a  bellows  (not 
with  the  breath),  and  at  once  on  the  screen  will  be  seen 
the  growth  as  of  frost  crystals  shooting  over  the  field 
in  all  directions. 

Experiment  6th.  If  sulphate  of  copper  in  solution  is 
mixed  with  enough  gum-arabic  water  to  make  the  solu¬ 
tion  form  a  continuous  film,  when  flowed  like  collodion 
on  a  clean  glass,  and  such  plates  are  allowed  to  dry 
slowly  in  a  nearly  horizontal  position,  a  very  beautiful 
crystalline  vegetation  will  set  in,  which  varies  in  its 
character  with  the  proportion  of  gum  used,  and  will 
make  objects  well  fitted  for  exhibition  with  the  lantern. 

In  place  of  sulphate  of  copper,  we  may  use  nitre,  or 
ferrocyanide  of  potassium,  with  the  production  of  an 
entirely  new  class  of  forms. 

By  placing  the  plates  so  covered  with  crystals  over  a 
leaden  dish,  in  which  is  a  little  fluor-spar,  moistened 
with  sulphuric  acid,  and  warmed  slightly  (giving  off 
fumes  of  hydrofluoric  acid),  permanent  etchings  may  be 
prepared,  which  are  also  very  beautiful  objects  for  the 
lantern. 

These  are  only  a  few  of  the  experiments  of  this  char¬ 
acter  which  can  be  performed  with  the  lantern,  but  they 
will  indicate  the  direction  in  which  each  one  can  be  a 
discoverer  and  inventor  for  himself. 


SCIOPTICON  MANUAL. 


87 


MISCELLANEOUS  EXPERIMENTS. 

The  Sciopticon  tank  (Fig.  28)  is  free  from  projecting 
clamps  and  so  passes  freely  upon  the  stage  in  front  of 
the  condenser.  It  serves  as  a  dry  cage  for  insects,  &c., 
a  cell  to  show  liquids  and  life  in  water,  a  tank  for  the 
exhibition  of  chemical  reactions,  and  with  wires  pro¬ 
tected  and  bent  over  the  ends  it  can  be  used  in  connec¬ 
tion  with  a  galvanic  battery.  It  is  the  most  convenient 
for  the  preceding  experiments,  as  well  as  for  these 
which  follow. 


Cohesion  Figures. — The  cohesion  figures  known  as 
Tomlinson’s  are  both  interesting  and  beautiful,  and  can 
be  shown  as  follows :  Fill  the  tank  to  within  half  an 
inch  of  the  top  with  alcohol  and  slide  it  into  place  upon 


88 


SCIOPTICON  MANUAL. 


the  stage ;  now  with  a  glass  rod,  or  small  brush,  dipped 
in  any  of  Judson’s  aniline  dyes,  touch  the  side  of  the 
tank  gentty,  so  as  to  leave  a  drop  on  it.  This  drop,  di¬ 
rectly  as  it  touches  the  alcohol,  will  go  straight  down  for 
half  an  inch  or  so,  and  then  break  out  into  two  branches; 
these  again  will  break  in  four,  and  so  on,  until  by  the 
time  the  dye  gets  to  the  bottom  of  the  tank  it  will  have 
formed  some  hundreds  of  delicate  branches.  As  this 
action  is  reversed  on  the  screen,  the  branches  appear¬ 
ing  to  shoot  upwards,  the  effect  is  much  heightened. 
A  (Fig.  28),  shows  the  form  assumed.  By  placing  at  in¬ 
tervals  of  half  an  inch  drops  of  different  colors,  as  their 
branches  commingle,  the  effect  reminds  one  of  a  shower 
of  different  colored  rockets.  If  we  now  take  another 
tank,  and  fill  it  with  coal  oil,  and  put  a  drop  of  fusel 
oil  into  it,  we  get  an  entirely  different  figure,  as  shown 
at  B.  The  fusel  oil  is  best  colored. 

Capillary  Attraction  can  be  strikingly  shown  to  a 
large  audience.  A  series  of  glass  tubes  of  different  sizes 
are  fitted  into  a  piece  of  wood  which  rests  on  the  top  of 
the  tank,  and  dips  down  to  near  the  bottom;  when  the 
tank  is  filled  with  water,  which  is  best  tinted,  the  dif¬ 
ferent  heights  of  the  water,  according  to  the  fineness 
of  the  tubes,  will  be  shown  clearly  on  the  screen.  The 
curve  shown  by  the  liquid  rising  between  two  pieces  of 
glass  can  be  shown  in  the  same  manner,  the  colored 
water  forming  a  pretty  gradation  of  color  between  the 
highest  and  lowest  part. 

Crystallization. — By  filling  the  tank  with  a  satu¬ 
rated  solution  of  Glauber’s  salts,  and  allowing  it  to  cool, 
it  will  appear  transparent  on  the  screen,  but  by  dropping 
one  small  crystal  into  it  the  whole  mass  will  be  seen  to 
shoot  out  into  beautiful  crystals. 


SCIOPTICON  MANUAL. 


89 


The  crystallization  of  many  other  substances,  such  as 
bichromate  of  potash,  alum,  &c.,  and  the  precipitation 
of  iodides  of  silver,  mercury,  and  other  salts,  all  form 
beautiful  objects  on  the  screen. 

The  Development  of  a  Photograph  on  the  Screen. 
— For  this  we  require  a  tank  with  one  of  its  faces  of 
yellow  glass,  which  side  should  be  next  the  condenser. 
Place  a  small  statuette  in  the  rays  of  the  lantern,  and 
having  prepared  a  small  plate  with  collodion  and  sensi¬ 
tized  it,  expose  in  the  camera  for  about  a  minute;  then, 
having  filled  the  trough  with  developing  solution,  place 
in  it  the  slide,  and  as  the  development  proceeds  the 
image  will  gradually  appear  on  the  screen.  A  trans¬ 
parency  might  then  be  made  from  this,  and,  after  drying, 
shown  on  the  screen,  thus  illustrating  the  formation  of  a 
photographic  lantern  slide. 

Changing  Colors. — A  glass  coated  with  a  mixture 
of  gelatine  and  chloride  of  cobalt,  when  placed  in  front 
of  a  slide,  will  give  a  rosy  effect  to  the  picture,  which, 
however,  from  the  effect  of  the  warmth  of  the  lantern, 
will  gradually  change  to  purple  and  then  to  blue.  On 
becoming  damp  again  it  will  resume  its  red  color,  and 
can  be  used  over  and  over  again. 

Complementary  Colors. — A  number  of  beautiful  ef¬ 
fects,  showing  complementary  colors,  may  be  obtained 
with  the  Sciopticon.  If  we  insert  a  piece  of  green  glass, 
having  any  design  cut  out  of  black  paper  and  pasted  on 
it,  we  shall  see  on  the  screen  a  black  design  on  a  green 
ground ;  but  by  bringing  another  light  into  the  room  or 
turning  up  the  gas,  the  black  design  will  at  once  appear 
to  the  eye  as  a  brilliant  pink. 

By  making  apertures  in  a  card  slide,  as  circles,  squares, 

7 


90 


SCIOPTICON  MANUAL. 


or  diamonds,  say  a  fourth  of  an  inch  in  diameter,  and 
covering  them  with  bits  of  colored  gelatine,  or  by  simply 
using  the  tinters  of  the  Sciopticon,  many  curious  effects 
in  complementary  colors  may  be  obtained. 

Fairy  Fountain. — The  effect  of  what  is  known  as  the 
“  Fairy  Fountain  ”  can  be  prettily  illustrated  in  the  fol¬ 
lowing  manner :  A  small  table  fountain  is  placed  at  a 
distance  of  about  four  feet  in  front  of  the  lantern ;  by 
curtains  or  otherwise  the  lantern  is  then  hidden  from 
the  spectators,  so  that  they  see  only  the  fountain  illumi¬ 
nated  by  the  rays  coming  from  the  lantern.  When  the 
fountain  is  made  to  play,  every  drop  seems  transformed 
into  a  diamond,  and  by  passing  colored  glass  in  front  of 
the  lantern  the  effect  is  striking  and  beautiful;  but  when 
the  rays  from  a  bisulphide  of  carbon  prism  are  allowed 
to  fall  on  it,  then  is  the  best  effect  produced. 

The  Eainbow. — A  card  with  a  curved  slit,  one-six¬ 
teenth  of  an  inch  (Fig.  29),  will  throw  on  the  screen  a 

simple  semicircle  of  white 
light;  but  when  a  prism 
is  held  in  front  of  the  ob¬ 
jective,  the  bow  at  once 
assumes  all  the  natural 
colors  of  the  rainbow.  As 
the  direction  of  the  rays 
is  changed,  the  range  of 
the  instrument  has  to  be 
elevated,  to  bring  the  bow  upon  the  screen.  By  using 
two  lanterns,  projecting  a  view  with  one  and  the  bow 
with  the  other,  a  very  natural  effect  may  be  produced. 

A  Magnet  and  Iron  Filings. — Fix  a  small  magnet 
to  a  glass  slide,  and  carefully  arrange  a  funnel  opening 


Fig ,  29, 


SCIOPTICON  MANUAL. 


91 


above  the  poles  in  the  lantern ;  then  allow  iron  filings 
to  fall  gently  down  the  funnel,  which  will  appear  like 
large  blocks  attracted  upward  by  a  huge  magnet. 

Astronomical  Cards. — The  cards  may  be  cut  to  the 
size  of  the  crystal  slide,  that  is  3£  by  inches,  so  as  to 
be  used  in  the  grooved  frame,  like  an  ordinary  glass 
slide.  After  correctly  dotting  a  constellation  of  stars 
(which  may  be  done  by  the  use  of  theorem  paper  and  a 
good  map  of  the  heavens),  pierce  the  card  at  the  several 
points,  say  with  a  darning  needle,  which  may  be  made 
to  show  stars  of  different  magnitudes  by  gauging  the 
depth  of  the  insertion. 

To  illustrate  the  Solar  System,  punches  of  different 
sizes  might  be  used  and  bits  of  colored  gelatine,  covering 
the  aperture,  might  indicate  the  tints  attributed  to  each 
member. 

Pinhole  Outlines. — Cards  in  shape  of  glass  slides 
and  just  thick  enough  to  be  sufficiently  stiff,  may  be 
pricked  to  show  maps,  mottoes,  figures,  diagrams,  or  any 
simple  illustration.  They  require  but  little  skill  and 
show  very  distinctly. 

Perforations. — Two  pieces  of  perforated  paper  or 
tin  made  to  slide  little  by  little  over  each  other,  in  front 
of  the  condenser,  and  modified  more  or  less  by  the 
tinters,  produce  beautiful  symmetrical  forms  in  great 
variety. 

Persistence  of  Yision. — Apertures,  as  in  a  paper  card, 
when  moved  rapidly  in  all  directions  in  the  plane  of  the 
slide,  appear  as  lines  of  light  on  the  same  principle  that 
a  lighted  stick  waved  about  produces  lines  of  light.  A 
new  slide,  called  the  kaleidotrope,  is  constructed  and 
hung  to  exhibit  this  curious  effect. 


92 


SCI  OPT  ICON  MANUAL. 


The  Photodrome. — The  photodrome,  as  shown  at  the 
Polytechnic,  may  be  made  at  a  very  small  expense.  To 
produce  this  effect  we  require  a  rapidly  moving  disk 
(having  one  or  more  slits  cut  in  it)  revolving  in  the  place 
where  the  slide  is  placed,  and  also  a  larger  one  placed 
at  some  distance — the  latter  representing  a  wheel,  the 
spokes  of  which  are  painted  in  black  on  a  sheet  of  white 
cardboard.  When  this  is  made  to  revolve  rapidly  in  the 
rays  coming  from  the  lantern,  all  trace  of  the  spokes 
will  be  completely  lost;  but  on  causing  the  small  disk 
to  revolve  at  nearly  the  same  speed  as  the  larger,  the 
latter  will  appear  to  be  moving  slowly,  although  moving 
rapidly,  and  by  increasing  the  speed  of  the  smaller 
wheel,  the  larger  will  gradually  appear  to  slacken  in 
speed  until  it  appears  to  be  motionless,  and  then  appa¬ 
rently  begin  to  move  in  an  opposite  direction  to  which 
it  is  really  revolving. 

Silhouettes,  &c.— Paper  patterns,  silhouettes,  &c., 
suspended  by  a  thread  attached  to  the  feet,  and  twirled 
before  the  condenser,  give  a  very  amusing  and  curious 
effect. 

Galvanic  Action.— Fill  the  tank  with  a  solution  of 
nitrate  of  silver,  and  introduce  at  each  end  two  wires 
from  a  small  battery;  from  one  of  the  wires  a  beautiful 
silver  tree  will  immediately  begin  to  grow.  The  experi¬ 
ment  may  be  varied  by  substituting  acetate  of  lead  for 
a  lead  tree. 

Litmus  solution,  neutralized,  will  gradually  redden 
around  one  point,  while  around  the  other  it  will  assume 
a  blue  tint. 

With  a  solution  of  cochineal,  the  red  color  will  be 
changed  by  the  acid  to  a  brilliant  yellow,  and  by  the 
ammonia  to  a  rich  purple. 


SCIOPTICON  MANUAL. 


93 


Natural  Objects,  as  leaves,  plants,  fibres,  texture 
of  cloth,  thin  sections  of  wood,  bone,  &c.,  appear  in  dis¬ 
tinct  outline  upon  a  white  ground.  Live  animals  in  the 
tank,  as  insects,  larvae  of  gnats,  shrimps,  worms,  lizards, 
<fcc.,  appear  as  huge  monsters  upon  the  screen,  and  excite 
a  lively  interest  by  their  eccentric  movements. 

Vertical  Lantern. — Some  very  interesting  experi¬ 
ments  require  the  slides  to  lie  in  a  horizontal  position. 
This  is  commonly  effected  by  reflecting  the  light  up 
through  the  glass  plate  and  the  objective  lens,  and  then 
by  another  mirror  reflecting  the  image  horizontally  to 
the  screen.  A  lantern  appendage  of  this  sort  in  now  in 
the  trade,  at  $20. 

But  this  is  equivalent  to  placing  the  slide  at  least  four 
inches  from  the  face  of  the  condenser,  which,  at  best, 
puts  it  at  great  disadvantage,  and  then  there  is  the  loss 
of  light  by  two  reflections. 

The  oil  light  cannot  well  bear  these  drawbacks,  the 
lime  light  is  better;  but  with  the  lime  light  the  Sciop- 
ticon  may  be  placed  on  end,  as  shown  at  Fig.  30. 

When  attached  to  its  carrying  box,  in  the 
ordinary  way,  it  may  be  held  in  this  position 
over  the  edge  of  a  table,  so  as  to  be  con¬ 
veniently  operated.  The  front  flame-chamber 
glass  will  protect  the  condenser  from  its 
greater  liability  to  become  heated. 

A  glass  disk,  clean  cut,  and  slightly  larger  than  the 
condenser,  answers  for  the  slide  plate;  and  if  a  rubber 
band  be  stretched  about  its  periphery,  like  the  tire  of  a 
wagon  wheel,  it  will  become  a  tank  for  fluids. 

With  this  arrangement,  a  mirror  at  an  angle  of  45° 
above  the  objective  will  throw  the  effect  upon  the  screen 
without  appreciable  loss  of  light. 


Fig.  30. 


94 


SCIOPTICON  MANUAL. 


Ripple  Waves. — Fill  the  tank,  as  it  rests  on  the  ver¬ 
tical  lantern,  with  clear  water,  when  taps  on  the  edge 
of  the  glass  will  start  ripple  waves,  which  will  be  seen 
on  the  screen  in  varied  harmonious  arrangements  of  form. 

Touching  the  surface  with  the  point  of  a  fine  wire 
will  start  the  waves  in  circles.  Vibrations  effected  by- 
drawing  a  fiddle  bow  across  the  edge  are  seen  to  vary 
according  to  the  different  tones  produced. 

Adhesion  Figures. — Drops  of  various  oils  upon  the 
surface  of  the  water,  essential  oils  for  instance,  will  ex¬ 
hibit  various  interesting  adhesion  figures,  each  oil  as¬ 
suming  some  peculiar  form  of  outline. 

Magnetic  Curves. — A  thin  bit  of  magnetic  steel,  say 
three-fourths  of  an  inch  long  by  one-eighth  wide,  ce¬ 
mented  on  the  under  side  of  a  glass  plate,  will  attract 
fine  iron  filings  scattered  upon  the  plate  into  curves, 
illustrating  the  deviation  of  the  magnetic  attraction  at 
either  pole  and  the  neutral  axis  in  the  centre  of  the 
magnet.  A  few  taps  on  the  glass  will  assist  the  arrange¬ 
ment. 


CHAPTER  VIII. 

CONCERT  EXERCISES. 

The  value  of  visible  illustrations  as  a  means~of  im¬ 
parting  instruction,  and  of  affording  rational  entertain¬ 
ment,  depends  much  on  the  accompanying  oral  explana¬ 
tions. 


SCIOPTICON  MANUAL. 


95 


Except  to  a  very  limited  extent,  it  is  not  practicable 
(as  many  seem  to  suppose  it  is),  to  forward  with  a  mis¬ 
cellaneous  selection  of  magic  lantern  slides  a  printed 
lecture. 

In  the  absence  of  special  provisions  for  supplying  this 
demand,  some  general  hints  in  this  direction  may  here 
prove  acceptable. 

In  some  assemblages  (possibly  in  some  Sunday-schools), 
very  little  can  be  said  to  advantage  on  account  of  the 
prevailing  noise  and  confusion.  The  exhibitor  having 
(for  love  or  money)  accepted  the  situation,  the  question 
arises  as  to  how  to  make  the  best  of  it. 

In  such  cases  in  particular  it  is  politic,  as  well  as 
proper,  to  select  slides  unexceptionable  in  their  influence. 
Grotesque  and  ridiculous  representations  gratify  a  de¬ 
praved  taste,  and  render  a  demoralized  company  still 
more  unruly.  It  is  better  to  please  by  what  is  strikingly 
excellent  and  beautiful. 

Without  assuming  the  attitude  of  a  reformer,  one  may 
take  advantage  of  the  lull  of  expectancy  preceding  a 
change  of  scene  to  give  in  a  natural  voice  some  interest¬ 
ing  particulars  of  the  forthcoming  picture. 

“  Your  mystical  lore, 

As  coming  events  cast  their  shadows  before,’ ’ 

will  be  respected,  and  you  may  be  able,  by  judicious 
management,  to  strengthen  your  position  on  vantage 
ground.  Even  in  a  civilized  assembly  (and  we  may 
well  hope  to  find  ourselves  in  no  other),  some  tact  is 
needful,  as  well  as  agreeable  speech  and  faultless  manipu¬ 
lation. 


BIBLE  PICTURES. 


Among  standard  colored  lantern  slides,  Bible  pictures 
properly  take  the  lead.  They  embody  the  genius  of  the 


96 


SCIOPTICON  MANUAL. 


most  gifted  artists,  in  connection  with  subjects  of  the 
most  thrilling  interest  to  mankind. 

We  may  name  the  picture,  particularizing  when  nec¬ 
essary  its  several  parts,  and  then  repeat  the  Scripture 
which  is  illustrated. 

Take,  for  example,  Adam  and  Eve  in  Paradise;  the 
luxuriant  foliage,  the  lion,  the  ox,  the  horse,  the  birds, 
and  alas!  the  subtle  serpent. 

“  In  the  beginning  God  created  the  heaven  and  the  earth. 

“  And  God  said,  Let  us  make  man  in  our  image,  after  our  like¬ 
ness  ;  and  let  them  have  dominion  over  the  fish  of  the  sea,  and  over 
the  fowls  of  the  air,  and  over  the  cattle,  and  over  all  the  earth,  and 
over  every  creeping  thing  that  creepeth  upon  the  earth. 

“So  God  created  man  in  his  own  image;  in  the  image  of  God 
created  he  him  ;  male  and  female  created  he  them. 

“And  the  Lord  God  planted  a  garden  eastward  in  Eden;  and 
there  he  put  the  man  whom  he  had  formed.” — Gen.  1 :  1,  26,  27; 
2:  8. 

Or  take  the  scene  where  Joseph  presents  his  father 
to  Pharaoh.  Mark  the  postures  of  each,  and  consider 
the  manners  of  the  times. 

“  And  Joseph  brought  in  Jacob  his  father,  and  set  him  before 
Pharaoh ;  and  Jacob  blessed  Pharaoh.  And  Pharaoh  said  unto 
Jacob,  How  old  art  thou?  And  Jacob  said  unto  Pharaoh,  The 
days  of  the  years  of  my  pilgrimage  are  a  hundred  and  thirty  years  : 
few  and  evil  have  the  days  of  the  years  of  my  life  been,  and  have 
not  attained  unto  the  days  of  the  years  of  the  life  of  my  fathers  in 
the  days  of  their  pilgrimage.  And  Jacob  blessed  Pharaoh,  and 
went  out  from  before  Pharaoh.” — Gen.  47 :  7,  8,  9,  10. 

Thus  Scripture,  to  any  desired  extent,  may  be  readily 
selected  appropriate  to  any  Bible  picture,  from  Adam 
and  Eve  in  Eden  to  St.  John’s  vision  of  the  Celestial  City. 
So  the  exhibitor  has  ample  material  at  hand  for  shaping 
an  effective  and  charming  discourse,  suited  to  any  series 
of  Bible  pictures  which  he  may  have  to  show. 


SCIOPTICON  MANUAL. 


9T 


The  Bible  is,  par  excellence,  the  storehouse  of  un¬ 
failing  supplies  for  the 

SUNDAY-SCHOOL. 

In  this  modern  institution,  as  elsewhere,  there  are 
many  duties  to  be  performed,  and  more  ways  than  one 
of  doing  each  of  them.  We  will  indicate,  in  this  con¬ 
nection,  one  way  of  using  the  Sciopticon.  Each  member 
of  the  school  takes  a  small  moneyed  interest  in  the  con¬ 
cern  at  the  outset,  which  insures  his  taking  a  more  lively 
interest  in  the  success  of  the  enterprise  afterwards. 

The  apparatus  is  strictly  in  the  hands  of  an  authorized 
keeper,  because  lax  regulations  suppress  all  genuine 
enthusiasm. 

The  operator  arranges  his  slides  in  proper  order  and 
position,  and  so  is  able  to  avoid  ridiculous  blunders. 
His  characters  are  introduced  on  time,  steady  and  up¬ 
right,  and  his  scenery  glides  into  place  as  if  seen  from 
the  deck  of  a  moving  steamer. 

It  is  good  policy  to  enlist  as  many  pupils  as  possible 
into  active  service,  thus  incidentally  enlisting  the  sym¬ 
pathies  of  as  many  circles  of  relatives  and  friends. 

Suppose  repentance  is  the  theme,  and  the  “  Prodigal's 
Beturn  ”  is  illustrated  upon  the  screen.  A  pupil,  fully 
prepared,  stands  in  his  place  and  recites  the  whole  para¬ 
ble  as  found  in  Luke  15. 

Another  pupil,  rising  in  his  class,  recites : 

“  Therefore  also  now  saith  the  Lord,  Turn  ye  even  to  me  with 
all  your  heart,  and  with  fasting,  and  with  weeping,  and  with 
mourning.  And  rend  your  heart,  and  not  your  garments,  and 
turn  unto  the  Lord  your  God  ;  for  he  is  gracious  and  merciful,  slow 
to  anger,  and  of  great  kindness,  and  repenteth  him  of  the  evil.” — 
Joel  2  :  12,  13. 

A  third  voice  rings  out  clearly : 

“  Let  the  wicked  forsake  his  way,  and  the  unrighteous  man  his 


98 


SCI  OPTICON  MANUAL. 


thoughts  ;  and  let  him  return  unto  the  Lord,  and  he  will  have  mercy 
upon  him;  and  to  our  God,  for  he  will  abundantly  pardon.” — 
Is.  55 :  7. 

Passages  bearing  on  repentance  and  forgiveness  are 
very  numerous,  from  which  selections  can  be  made  to 
any  extent  desired.  Illustrations  with  fewer  relations 
to  parallel  passages  may  be  coupled  with  others  to  ex¬ 
tend  the  exercise  to  proper  length. 

Selections  also  from  modern  writers,  well  rendered, 
give  pleasing  variety  and  artistic  effect  to  the  perform¬ 
ance.  The  sacred  poems  of  N.  P.  Willis,  for  example, 
are  very  appropriate.  The  following  extracts  may  serve 
as  specimens : 

ABRAHAM’S  SACRIFICE. 

.  .  .  .  He  rose  up,  and  laid 

The  wood  upon  the  altar.  All  was  done. 

He  stood  a  moment,  and  a  deep,  quick  flush 
Passed  o’er  his  countenance ;  and  then  he  nerved 
His  spirit  with  a  hitter  strength,  and  spoke — 

“  Isaac  !  my  only  son  !”  The  boy  looked  up; 

“  Where  is  the  lamb,  my  father  ?”  Oh,  the  tones, 

The  sweet,  familiar  voice  of  a  loved  child  ! 

What  would  its  music  seem  at  such  an  hour  ? 

It  was  the  last  deep  struggle.  Abraham  held 
His  loved,  his  beautiful,  his  only  son, 

And  lifted  up  his  arm,  and  called  on  God, 

And  lo  !  God’s  angel  stayed  him — and  he  fell 
Upon  his  face,  and  wept. 

HEALING  OF  THE  DAUGHTER  OF  JAIRTTS. 

.  .  .  .  The  Saviour  raised 

Her  hand  from  off  her  bosom,  and  spread  out 
The  snowy  fingers  in  his  palm,  and  said — 

“  Maiden!  arise!  ” — and  suddenly  a  flush 
Shot  o’er  her  forehead,  and  along  her  lips, 


SCIOPTICON  MANUAL. 


99 


And  through  her  cheek  the  rallied  color  ran ; 

And  the  still  outline  of  her  graceful  form 
Stirred  in  the  linen  vesture  ;  and  she  clasped 
The  Saviour’s  hand,  and  fixing  her  dark  eyes 
Full  on  his  beaming  countenance,  arose  ! 

CHRIST  WEEPING  OVER  JERUSALEM. 

.  .  .  How  oft,  Jerusalem !  would  I 

Have  gathered  you,  as  gathereth  a  hen 
Her  brood  beneath  her  wings,  but  ye  would  not ! 

He  thought  not  of  the  death  that  he  would  die — 

He  thought  not  of  the  thorns  he  knew  must  pierce 
His  forehead — of  the  buffet  on  the  cheek — 

The  scourge,  the  mocking  homage,  the  foul  scorn  ! 

Gethsemane  stood  out  beneath  his  eye 

Clear  in  the  morning  sun,  and  there  he  knew 

While  they  who  “could  not  watch  with  him  one  hour  ” 

Were  sleeping,  he  should  sweat  great  drops  of  blood, 

Praying  the  “  cup  might  pass.”  And  Golgotha 

Stood  bare  and  desert  by  the  city  wall, 

And  in  its  midst,  to  his  prophetic  eye, 

Eose  the  rough  cross,  and  its  keen  agonies 
Were  numbered  all — the  nails  were  in  his  feet — 

The  insulting  sponge  was  pressing  on  his  lips — 

The  blood  and  water  gushing  from  his  side — 

The  dizzy  faintness  swimming  in  his  brain — 

And,  while  his  own  disciples  fled  in  fear, 

A  world’s  death-agonies  all  mixed  in  his  ! 

Ay — he  forgot  all  this.  He  only  saw 
Jerusalem — the  chosen — the  loved — the  lost ! 

He  only  felt  that  for  her  sake  his  life 
Was  vainly  given,  and,  in  his  pitying  love, 

The  sufferings  that  would  clothe  the  heavens  in  black 
Were  quite  forgotten.  Was  there  ever  love, 

In  earth  or  heaven,  equal  unto  this  ? 

Longer  or  shorter  extracts  may  be  used  as  occasion 
requires.  The  following  are  titles  of  others,  equally 


100 


SCIOPTICON  MANUAL. 


beautiful,  and  descriptive  of  subjects  illustrated  by  lan¬ 
tern  slides:  “Hagar  in  the  Wilderness,”  “ The  Shuna- 
mite,”  “Jepthah’s  Daughter,”  “  Hannah  and  Samuel,” 
“Absalom,”  “Bispah  with  her  Sons,”  “Baptism  of 
Christ,”  “  The  Widow  of  Nain,”  “  The  Baising  of  Laza¬ 
rus,”  “Christ’s  Entrance  into  Jerusalem,”  and  “Scene 
in  Grethsemane.” 

The  following  poem,  by  an  author  unknown  to  us, 
will  be  inserted  entire,  as  it  so  vividly  portrays  the  mind 
of  the  parent  and  the  love  of  the  Saviour  for  children, 
and  so  graphically  describes  the  picture  of  “  Christ  Bless¬ 
ing  Little  Children :” 

“The  Master  has  come  over  Jordan,” 

Said  Hannah,  the  mother,  one  day; 

“  Is  healing  the  people  who  throng  Him, 

With  a  touch  of  his  finger,  they  say. 

“  And  now  I  shall  carry  the  children, 

Little  Eachel,  and  Samuel,  and  John ; 

I  shall  carry  the  baby  Esther, 

For  the  Lord  to  look  upon.” 

The  father  looked  at  her  kindly, 

But  he  shook  his  head,  and  smiled  ; — 

“Now,  who  but  a  doting  mother 
Would  think  of  a  thing  so  wild  ? 

“  If  the  children  were  tortured  by  demons, 

Or  dying  of  fever,  ’twere  well ; 

Or  had  they  the  taint  of  the  leper, 

Like  many  in  Israel.” 

“  Nay,  do  not  hinder  me,  Nathan, 

I  feel  such  a  burden  of  care, 

If  I  carry  it  to  the  Master., 

Perhaps  I  shall  leave  it  there. 


SCIOPTICON  MANUAL. 


101 


“  If  He  lay  His  hand  on  the  children, 

My  heart  will  be  lighter,  I  know, 

For  a  blessing  forever  and  ever 
Will  follow  them  as  they  go.” 

So  over  the  hills  of  Judah, 

Along  by  the  vine-rows  green, 

With  Esther  asleep  on  her  bosom, 

And  Rachel  her  brothers  between ; 

'Mong  the  people  who  hung  on  His  teaching, 

Or  waited  His  touch  and  His  word, 

Through  the  rows  of  proud  Pharisees  listening* 

She  pressed  to  the  feet  of  the  Lord. 

“How  why  shouldst  thou  hinder  the  Master,” 

Said  Peter,  “  with  children  like  these  ? 

Seest  not  how  from  morning  till  evening 
He  teacheth,  and  healeth  disease?” 

Then  Christ  said,  “  Forbid  not  the  children  : 

Permit  them  to  come  unto  Me,” 

And  He  took  in  His  arms  little  Esther, 

And  Rachel  He  set  on  His  knee. 

And  the  heavy  heart  of  the  mother 
Was  lifted  all  earth-care  above, 

As  he  laid  His  hand  on  the  brothers, 

And  blessed  them  with  tenderest  love. 

And  He  said  of  the  babe  in  His  bosom, 

“  Of  such  is  the  kingdom  of  heaven,” — 

And  strength  for  all  duty  and  trial, 

That  hour  to  her  spirit  was  given. 

A  little  poem  published  by  the  American  Tract  Society,, 
called  the  “  Old,  Old  Story,”  could  be  used  in  connection 
with  a  series  of  six  slides. 

The  “  Song  of  the  Pilgrimage,”  and  “  Christiana  and 


102 


SCIOPTICON  MANUAL. 


her  Children,”  are  much  used  in  connection  with  the 
corresponding  slides.  These  published  exercises  afford 
practical  hints,  applicable  also  to  Bible  slides. 

Singing  should  be  introduced  at  every  convenient 
opportunity,  not  only  for  its  general  good  effect,  but 
that  each  individual  may  participate  directly  in  the 
exercises. 

Texts  of  Scripture,  and  other  selections,  recited  in 
this  way  at  the  rehearsals,  and  at  the  concert,  become 
fixed  in  the  memory  of  all.  Who  cannot  remember 
such  recitations  heard  in  childhood,  even  to  the  tones 
and  inflections  of  the  voice — of  voices,  maybe — not  now 
heard  among  the  living  ? 

These  modest  recitations  require  no  parade  upon  an 
illuminated  rostrum;  an  occasional  omission  is  not  very 
noticeable.  The  exercises  can  be  arranged  by  the 
superintendent,  divided  among  the  teachers,  assigned 
to  the  pupils,  and  committed  to  memory  by  them  with¬ 
out  severe  labor  on  the  part  of  any. 

One  or  two  slides  for  the  concert  exercise,  with,  say 
a  dozen  or  so  for  subsequent  recreation,  answers  the 
purpose.  Such  a  concert  exercise,  well  gotten  up,  may 
be  several  times  repeated  with  growing  interest. 

It  often  occurs  in  schools,  where  the  burdens  and 
duties  are  monopolized  by  the  few,  that  the  many  be¬ 
come  impatient  of  control  and  hard  to  please.  A  hun¬ 
dred  pictures  in  such  cases  hardly  suffices,  and  a  repeti¬ 
tion  of  the  same  is  scarcely  tolerated. 

An  earnest  worker  in  the  Sunday-school,  therefore, 
can  accomplish  more  good,  not  by  trying  to  do  every¬ 
thing  himself,  but  by  skilfully  assigning  work  for  others, 
and  seeing  that  it  is  properly  done.  After  all,  there 
will  be  enough  left  for  pastor  and  superintendent  to  do 
and  say,  especially  when  it  comes  to  slides  selected  from 


SCIOPTICON  MANUAL. 


103 


Class  III  or  Y  of  the  appended  catalogue,  which  will 
require  a  lecturer  well  informed  in  relation  to 

BIBLE  LANDS. 

The  following  descriptions  are  selected  from  the 
“  Bible  Dictionary,”  “  Bible  Lands,”  “  The  Land  and  the 
Book,”  “  Bayard  Taylor’s  Travels,”  &c.,  to  suit  the  slides 
in  Class  III. 

As  works  on  Egypt  are  less  common  than  the  Bible 
Dictionary,  a  description  of  each  of  the  twenty  Egyptian 
views  is  given. 

JERUSALEM. 

(For  description  of  the  City,  and  view  from  Mount  of  Olives,  see  Catalogue,  Class  III.) 

The  Temple  Area. — The  Temple  Area,  the  precincts 
known  to  Christians  as  the  Mosque  of  Omar,  but  called 
by  the  Moslems  the  “Dome  of  the  Rock,”  the  harem 
more  sacred  to  Moslems  than  any  spot  on  earth,  except 
Mecca,  is  jealously  guarded  by  the  Turks.  It  con¬ 
tains  about  thirty-five  acres,  a  large  portion  of  which 
is  sprinkled  with  pomegranates  and  cypresses,  with  here 
and  there  a  shrine.  Above  this  space  rises  the  platform 
of  the  great  mosque,  paved  with  marble,  and  ascended 
by  a  flight  of  white  marble  steps,  surmounted  by  a  beau¬ 
tifully  carved  screen  or  open  gateway,  also  of  white 
marble.  The  edifice  is  an  octagon  of  about  one  hundred 
and  seventy  feet  diameter.  There  are  four  doors  at  the 
opposite  cardinal  points.  The  dome  is  sustained  by  four 
great  piers,  and  has  twelve  arches,  which  rest  on  columns. 
The  mosque  is  very  beautiful  with  a  kind  of  Moorish 
beauty.  The  octagonal  walls  below  the  dome  are  cov¬ 
ered  with  porcelain  mosaic;  the  roof  inside  is  of  the 
richest  woods,  inlaid  and  carved;  the  floors  of  marble 


104 


SCIOPTICON  MANUAL. 


mosaic;  the  windows  like  jewelry,  of  small  pieces  of 
Venetian  stained  glass.  Beautiful  columns,  and  an 
elaborately  worked  balustrade,  surround  the  holy  stone 
(Es  Sakrab,  the  rock),  which  Moslems  believe  to  be  the 
centre  of  the  world,  suspended  from  heaven  by  an  invisi¬ 
ble  golden  chain.  It  is  a  mass  of  the  native  rock  of 
Moriah,  the  sloping  summit  or  peak  of  the  hill;  all  the 
rest  of  the  ridge  was  cut  away  when  levelling  the  plat¬ 
form  for  the  temple  and  its  courts. 

The  Tower  of  Hippicus. — The  only  castle  of  any 
particular  importance  is  that  at  the  Jaffa  Gate,  com¬ 
monly  called  the  “  Tower  of  David/’  The  lower  part 
is  built  of  huge  stones,  roughly  cut,  and  with  a  deep 
bevel  around  the  edges.  It  is  believed  by  many  to  be 
the  Hippicus  of  Josephus,  and  to  this  idea  owes  its  chief 
importance,  for  the  historian  makes  that  the  point  of 
departure  in  laying  down  the  line  of  the  ancient  walls 
of  Jerusalem. 

The  Church  of  the  Holy  Sepulchre. — The  Church 
of  the  Holy  Sepulchre  is  now  in  the  joint  possession  of 
all  the  Eastern  Christian  sects.  Greeks,  Latins,  Arme¬ 
nians,  and  Copts  have  each  a  chapel  within  its  inclos¬ 
ures,  which  embrace  the  alleged  sites  of  the  place  of  the 
crucifixion  and  the  tomb  of  the  Redeemer.  It  has  been 
built  at  many  different  periods,  and  under  various  cir¬ 
cumstances. 

“The  front  is  a  fine  specimen,”  says  Lord  Nugent, 
“of  what  is  called  the  later  Byzantine  style  of  architec¬ 
ture.”  As  lately  as  1808,  the  whole  of  the  principal 
cupola,  and  a  great  part  of  the  church,  were  destroyed 
by  fire.  But  some  parts,  and  especially  the  Greek  chapel, 
occupying  the  whole  of  the  eastern  end  of  the  nave, 
have  been  restored  with  good  taste  and  judgment,  and 


SCIOPTICON  MANUAL. 


105 


are  magnificent  in  their  proportions  and  decorations. 
The  sepulchre  looks  very  much  like  a  small  marble 
house.  It  stands  quite  alone,  directly  under  the  aper¬ 
ture  in  the  centre  of  the  dome. 

The  Jews’  Place  or  Wailing. — No  sight  meets  the 
eye  in  Jerusalem  more  sadly  suggestive  than  the  wailing- 
place  of  the  Jews,  in  the  Tyropean,  at  the  base  of  the 
wall  which  supports  the  west  side  of  the  Temple  Area, 
where  some  ancient  stones  still  mark  the  old  walls  of 
the  temple.  In  past  ages  the  Jews  have  paid  immense 
sums  to  their  oppressors  for  the  miserable  satisfaction 
of  kissing  these  stones,  and  pouring  out  lamentations  at 
the  foot  of  their  ancient  sanctuary.  With  trembling 
lips  and  tearful  eyes  they  sing:  “Be  not  wroth  very 
sore,  O  Lord,  neither  remember  iniquity  forever ;  behold, 
see,  we  beseech  thee,  we  are  all  thy  people.  Tby  holy 
cities  are  a  wilderness;  Jerusalem  is  a  desolation.  Our 
holy  and  beautiful  house,  where  our  fathers  praised  thee, 
is  burned  up  with  fire,  and  all  our  pleasant  things  are 
laid  waste.” 

The  Golden  Gate  at  Jerusalem. — In  former  days 
the  gates  of  towns  were  of  the  utmost  importance;  they 
were  the  means  of  ingress  and  egress,  and  usually  had 
rooms  over  them,  and,  above  these,  watch-towers,  so 
that  the  approach  of  an  enemy  might  be  seen  before¬ 
hand.  The  Golden  Gate,  in  the  east  wall  of  the  Temple 
Area,  is  ancient,  and  the  interior  of  it  ornamented  with 
rich  and  elaborate  carving  in  good  Grecian  style.  It  is 
now  walled  up. 

Garden  of  Gethsemane. — “Then  cometh  Jesus  to  a 
place  called  Gethsemane,  and  saith  unto  the  disciples, 
Sit  ye  here,  while  I  go  and  pray  yonder.” — Matt.  26  :  36. 

8 


106 


OPTICON  MANUAL. 


Across  the  brook  Kedron,  probably  at  the  foot  of 
Mount  Olivet,  was  the  “ place ”  or  “farm  ”  of  Gethsemane. 
There  seems  to  have  been  a  garden,  or  rather  orchard, 
attached  to  it,  and  to  its  grateful  shade  we  read  that 
our  Lord  often  resorted  with  His  disciples.  At  present 
a  modern  garden  marks  the  site  of  the  ancient  one  with 
eight  venerable  olive  trees,  which  some  claim  grew  there 
in  the  Saviour’s  time.  It  has  been  argued  that  Titus 
cut  down  all  the  trees  about  J  erusalem.  The  probability 
would  seem  to  be  that  they  were  planted  by  Christian 
hands  to  mark  the  spot ;  unless,  like  the  sacred  olive 
of  the  Acropolis,  they  may  have  reproduced  themselves. 

Bethlehem. — Bethlehem  was  in  existence  when  Jacob 
returned  from  his  long  sojourn  in  Padan  Aram.  Here 
Bachel  died.  It  was  in  the  neighboring  fields,  in  later 
times,  that  Ruth,  the  Moabitess,  went  gleaning  when 
she  came  with  her  mother-in-law,  Haomi,  to  dwell  in 
the  land  of  Israel.  It  was  the  birthplace  of  David,  but 
is  best  known  to  us  as  the  birthplace  of  the  Redeemer, 
great  David’s  greater  son  and  Lord.  “  On  the  plains 
near  were  the  shepherds  abiding  in  the  fields,  and  keep¬ 
ing  watch  over  their  flocks  by  night,  when  lo  !  the  angel 
of  the  Lord  came  upon  them,  and  the  glory  of  the  Lord 
shone  round  about  them,  and  they  were  sore  afraid. 
And  the  angel  said  unto  them,  Fear  not,  for  behold,  I 
bring  you  good  tidings  of  great  joy,  which  shall  be  to  all 
people ;  for  unto  you  is  born  this  day,  in  the  city  of  David, 
a  Saviour  which  is  Christ  the  Lord.” — Luke  2  :  8-14. 

Hebron. — Hebron  is  one  of  the  most  ancient  cities  in 
the  world  still  existing.  “It  was  built,”  says  a  sacred 
writer,  “  seven  years  before  Zoan  in  Egypt.”-Hum.  13:22, 
and  was  a  well-known  town  when  Abraham  entered 


SCIOPTICON  MANUAL. 


107 


Canaan  3780  years  ago.  Sarah  died  at  Hebron,  and 
Abraham  then  bought  from  Ephron,  the  Hittite,  the  cave 
of  Machpelah,  to  serve  as  a  family  tomb.  Jacob  gave 
commandment  to  his  sons,  “  Bury  me  with  my  fathers 
in  the  cave  that  is  in  the  field  of  Ephron,  the  Hittite. 
There  they  buried  Abraham  and  Sarah  his  wife.  There 
they  buried  Isaac  and  Eebekah  his  wife,  and  there  I 
buried  Leah.”  And  his  sons  did  unto  him  according  as 
he  commanded  them,  and  buried  him  in  the  cave  of 
Machpelah.  The  massive  walls  of  the  harem  or  mosque, 
within  which  the  cave  lies,  forms  the  most  remarkable 
object  in  the  whole  city.  Hebron  now  contains  about 
5000  inhabitants,  of  whom  some  fifty  families  are  Jews. 
It  is  picturesquely  situated  in  a  narrow  valley,  sur¬ 
rounded  by  rocky  hills. 

“  The  Pool  of  Siloam  ”  is  one  of  the  few  undisputed 
localities  in  Jerusalem,  still  retaining  its  old  name.  It 
is  of  no  considerable  size,  being  eighteen  feet  broad  and 
nineteen  deep.  It  is,  however,  never  full,  having  in  it 
usually  about  four  feet  of  water.  It  is  a  complete  ruin. 
It  was  to  this  pool  that  our  Lord  sent  the  blind  man, 
after  he  had  anointed  his  eyes  with  clay.  It  was  to 
Siloam  that  the  Levite  was  sent  with  the  golden  pitcher 
on  the  last  day  of  the  feast  of  Tabernacles,  and  from  it 
he  brought  the  water  which  was  then  poured  over  the 
sacrifice,  in  remembrance  of  the  water  that  flowed  from 
the  rock  Rephidim. 

Genesaret,  or  Sea  of  Galilee. — This  view  exhibits 
a  portion  of  that  large  inland  sea  through  which  the 
Jordan  flows  from  north  to  south.  It  is  some  thirteen 
miles  long  and  six  broad,  and  is  remarkable  for  the  low¬ 
ness  of  the  basin  in  which  it  lies,  being  about  seven 
hundred  feet  below  the  level  of  the  ocean.  JSTo  less  than 


108 


SCIOPTICON  MANUAL. 


nine  cities  stood  on  the  very  shores  of  the  lake.  A 
great  part  of  our  Lord’s  life  was  spent  near  it.  Here 
he  taught  the  people  out  of  Peter’s  ship,  and  wondrously 
filled  the  nets,  so  that  they  brake;  walked  on  the  waves, 
rebuked  the  winds,  and  calmed  the  sea.  From  the  castle 
Saphet  a  vast  panorama,  embracing  a  thousand  points 
of  historic  and  sacred  interest,  is  presented  to  the  eye. 
Saphet  is  truly  a  high  tower.  Here  are  beveled  stones, 
as  heavy  and  as  ancient  in  appearance  as  any  ruins  in 
the  country,  and  they  prove  that  this  has  been  a  place 
of  importance  from  a  remote  age. 

Baths  and  City  of  Tiberias. — The  sea  of  Galilee  is 
also  called  the  sea  of  Tiberias,  from  the  celebrated  city 
of  that  name.  About  a  mile  south  from  the  original 
site  of  the  city,  along  the  shores,  are  the  celebrated 
warm  baths,  which  the  Roman  naturalists  reckoned  as 
among  the  greatest  known  curiosities  of  the  world.  The 
water  of  these  springs  has  a  sulphurous  and  most  dis¬ 
agreeable  smell,  and  is  so  nauseous  that  it  cannot  be 
drank,  and  is  not  used  internally.  The  baths,  however, 
have  a  great  medicinal  reputation.  There  is  but  one  com¬ 
mon  bathing  cistern,  where  the  water  is  hot  enough  to 
cook  an  egg — from  130°  to  140°  Fahrenheit — yet  it  is 
always  crowded  with  the  lame,  the  halt,  the  withered, 
and  the  leprous. 

Nazareth. — Nazareth  is  situated  among  the  hills 
which  constitute  the  south  ridges  of  Lebanon,  just  be¬ 
fore  they  sink  into  the  Plain  of  Esdraelon.  It  derives 
its  celebrity  from  its  connection  with  the  history  of 
Christ.  The  “Fountain  of  the  Virgin ”  is  situated  at 
the  northeastern  extremity  of  the  town.  The  brow  of  the 
hill  is  still  called  the  Mount  of  the  Precipitation  (Luke 
14 :  29),  and  is  half  a  league  southward  of  Nazareth. 


SCIOPTICON  MANUAL. 


109 


The  Yalley  of  Jehoshaphat. — The  Yalley  of  Jehosh- 
aphat  was  the  favorite  burying-place  of  the  Jews  from 
the  earliest  times;  accordingly  we  find  in  it  a  number  of 
remarkable  tombs.  The  monolith  of  Zachariah  is  a 
cubical  block  of  about  twenty  feet  every  way,  and  sur¬ 
mounted  by  a  flattened  pyramid  of  at  least  ten  feet 
elevation.  It  is  one  solid  mass  hewn  out  of  the  moun¬ 
tain,  the  adjacent  rock  being  cut  away,  so  that  it  stands 
entirely  detached;  there  is  no  known  entrance.  The 
tomb  of  St.  James  shows  a  fine  front  to  the  west.  The 
cave  extends  forty  or  fifty  feet  back  into  the  mountain. 
Some  two  hundred  feet  north  of  this  is  the  tomb  of 
Absalom.  The  entire  height  of  this  very  striking  “pil¬ 
lar”  cannot  be  less  than  forty  feet.  Believing  it  to  be 
Absalom's  tomb,  the  natives  throw  stones  against  it, 
and  spit  at  it  as  they  pass  by.  Close  to  this  monument, 
on  the  northeast,  is  the  reputed  tomb  of  Jehoshaphat. 

“The  Dead  Sea,”  says  Dr.  Thomson,  “without  any 
reference  to  what  others  have  said,  I  can  testify  to  the 
following  facts  :  The  water  is  perfectly  clear  and  trans¬ 
parent.  The  taste  is  bitter  and  salt,  far  beyond  that  of 
the  ocean.  It  acts  upon  the  tongue  and  mouth  like 
alum,  smarts  in  the  eyes  like  camphor,  produces  a  burn¬ 
ing,  pricking  sensation,  and  it  stiffens  the  hair  of  the 
head  much  like  pomatum.  The  water  has  a  much 
greater  specific  gravity  than  the  human  body,  and 
hence  I  did  not  sink  lower  than  to  the  arms  when 
standing  perpendicularly  in  it.  We  saw  no  fish  nor 
living  animals  in  the  water,  though  birds  were  flying 
over  it  unharmed.  All  of  us  noticed  an  unnatural 
gloom,  not  upon  the  sea  only,  but  also  over  the  whole 
plain  below  Jericho.  It  had  the  appearance  of  Indian 
summer  in  America,  and  like  a  vast  funeral  pall  let 


110 


SCIOPTICON  MANUAL. 


down  from  heaven,  it  hung  heavily  over  the  lifeless 
bosom  of  this  mysterious  lake/’  Its  area  is  about  two 
hundred  and  fifty  square  geographical  miles.  At  its 
northern  end  it  receives  the  stream  of  the  Jordan.  The 
depression  of  its  surface,  and  the  depth  which  it  attains 
below  that  surface,  combined  with  the  absence  of  any 
outlet,  render  it  one  of  the  most  remarkable  spots  on 
the  globe. 

The  Fords  op  the  Jordan. — The  reach  of  the  Jor¬ 
dan  here  shown  is  the  place  to  which  pilgrims  of  the 
G-reek  Church  resort  every  year,  in  Holy  Week,  to  renew 
their  baptism  by  bathing  in  the  Jordan,  and  it  is  the 
spot  which  tradition  points  out  as  the  place  where  our 
Saviour  was  baptized.  The  Jordan  is  a  rapid  and  tor¬ 
tuous  stream,  interrupted  by  many  rapids,  and  annually 
11  overflows  his  banks  all  the  time  of  harvest.”  So  far 
as  this  overflow  extends  there  is  a  belt  of  luxurious 
vegetation,  but  beyond  it  the  ground  is  barren. 


EGYPT. 

From  time  immemorial  Egypt  has  been  an  object  of 
interest  to  the  rest  of  the  world.  Almost  the  dawn  of 
Scripture  light  breaks  upon  the  rocks  and  sands  of  this 
wonderful  valley,  whose  vast  river  diffuses  fertility 
wherever  it  flows.  Here  the  children  of  Israel  served 
the  Pharaohs  four  hundred  and  thirty  years  and  grew 
into  a  great  nation.  From  the  banks  of  the  Nile  they 
set  out  on  that  marvelous  pilgrimage  to  Sinai  and  Zion, 
those  two  rocky  pinnacles  whence  the  splendors  of  the 
Law,  and  the  mild  and  beneficent  radiance  of  the  Gospel, 
beamed  forth  upon  mankind. 


SCIOPTICON  MANUAL. 


Ill 


A  Traveler's  Nile  Boat,  or  “  Dahabeek.” — The 
traveler  who  visits  Egypt  can  avail  himself  of  public 
conveyance  as  far  as  Cairo,  but  if  he  desire  to  visit  the 
remains  of  ancient  grandeur  that  lie  to  the  south,  he 
must  engage  a  Nile  boat,  which  becomes,  for  the  time 
being,  both  the  means  of  locomotion  and  his  home ;  and 
as  all  the  points  of  interest  ai'e  near  the  river,  a  more 
commodious  plan  for  visiting  them  could  hardly  be  de¬ 
vised.  As  there  are  no  towns  above  Cairo  everything 
in  the  shape  of  comforts  and  luxuries  must  be  provided 
before  setting  out. 

Street  in  Cairo. — The  streets  in  Cairo,  like  those  of 
most  Oriental  towns,  are  narrow,  being  some  eight  or  ten 
feet  wide.  The  houses  are  mostly  three  stories  in  height, 
each  story  projecting  over  the  other,  and  the  plain  stone 
walls  are  either  whitewashed  or  striped  with  horizontal 
red  bars,  as  seen  in  the  picture. 

The  beautiful  latticed  windows,  “  masbarobeahs,'’  are 
the  chief  ornament  of  the  old  Mameluke  houses  in  Cairo. 
The  wood  seems  rather  woven  in  the  loom  than  cut  with 
the  saw  and  chisel.  ‘  Through  these  lattices  of  fine  net¬ 
work,  with  borders  worked  in  lace-like  patterns,  and 
sometimes  tipped  with  slender  turrets,  the  Cairo  ladies 
sit  and  watch  the  crowd  passing  to  and  fro,  themselves 
unseen.  “  The  mother  of  Sisera  looked  out  at  a  window 
and  cried  through  the  lattice,  Why  is  his  chariot  so  long 
in  coming?’' — Jud.  5  :  28.  Donkey-riding  in  the  streets, 
and  bazars,  is  almost  universal.  The  animals  are  small 
but  strong.  The  driver  runs  behind,  gives  the  donkey 
a  punch,  cries  “O  man,  take  care!  O  boy,  get  out  of 
the  way !"  and  the  rider  is  hurried  into  a  confusion  of 
other  donkeys,  loaded  camels,  water-carriers,  and  foot¬ 
men.  To  one  unaccustomed  to  donkey-riding  it  seems 


112 


SCIOPTICON  MANUAL. 


as  hazardous  as  going  on  foot.  The  streets  of  Cairo  are 
watered  several  times  a  day,  and  are  nearly  always  cool 
and  free  from  dust. 

Ferry  at  Old  Cairo. — Old  Cairo  is  situated  about  two 
miles  from  modern  Cairo.  The  wonderful  clearness  and 
brilliancy  of  the  Eastern  atmosphere ;  the  absence  of 
smoke,  charcoal  alone  being  burned ;  the  picturesque 
effect  of  the  ruin  into  which  many  of  its  great  monu¬ 
ments  are  falling;  the  rich,  green  valley  of  the  Nile;  the 
river;  the  Pyramids  in  the  distance;  and  the  fading 
of  the  landscape  into  the  boundless  haze  of  the  Lybian 
desert,  constitutes  a  scene  which,  for  splendor  and  inter¬ 
est,  is  perhaps  unequaled  in  the  world.  The  taste  for 
gaudy  and  fantastic  coloring  has  been  for  ages  a  distin¬ 
guishing  feature  of  Eastern  embellishment.  The  alter¬ 
nate  red  and  white  stripe  is  conspicuous  on  the  sails  of 
the  ferry  boats,  which  are  constantly  passing  back  and 
forth  between  Cairo  and  the  island  of  Ehoda  opposite. 
Here  we  have  a  group  of  Arabs  from  the  desert,  with 
their  camels,  dealers  in  oranges,  vegetables,  sugar-cane, 
&c.  For  picturesqueness  of  costume,  there  is  nothing 
like  the  East;  the  flow  of  the  drapery  so  simple  and 
natural,  the  coloring  so  deep  and  brilliant. 

Tombs  op  the  Memlook  Kings  at  Cairo. — These 
tombs  are  fine  specimens  of  Saracenic  architecture,  and 
were  erected  in  the  thirteenth  and  fourteenth  centuries. 

Pyramids. — The  Pyramids  of  Gizeh,  three  in  number, 
are  situated  about  eight  miles  from  Cairo,  and  should  be 
visited  by  the  tourist  before  entering  on  his  river  cruise. 
They  stand  on  a  ridge  of  stone,  which  has  been  so  cut  as 
to  form  part  of  the  basement.  The  great  Pyramid  is 
mainly  composed  of  blocks  of  limestone  brought  from  the 


SCIOPTICON  MANUAL. 


113 


quarries  on  the  other  side  of  the  Nile,  about  sixteen  miles 
off.  It  covers  about  13£  acres ;  its  present  height  is  456 
feet  ;  it  must  formerly  have  been  about  480  feet  high.  Its 


sides  now  present  the  appearance  of  irregular  steps, 
varying  from  four  feet  eight  inches  to  one  foot  eight 
inches;  but  it  appears  to  have  been  covered  originally 
with  a  casing  of  polished  granite;  a  portion  of  the  cover¬ 
ing  still  remains  on  the  second  Pyramid.  Herodotus 
tells  us  that  100,000  men  were  employed  twenty  years 
in  building  this  Pyramid,  which  appears  to  have  been 
chiefly  intended  as  a  mausoleum  of  its  founder.  The 
granite  covering  on  the  second  Pyramid  makes  its  ascent 
more  dangerous  than  the  first,  which  presents  no  other 
difficulty  than  the  ascent  of  a  rugged  staircase,  about 
four  hundred  feet  in  height,  in  which  the  steps  vary  from 
two  feet  to  a  little  more  than  four. 


114 


SCIOPTICON  MANUAL. 


Near  the  Pyramids,  more  wondrous  and  more  awful 
than  all  else  in  the  land  of  Egypt,  there  sits  the  lonely 
Sphinx.  This  monument,  so  imposing  in  its  aspect,  even 
in  the  mutilated  state  to  which  it  has  been  reduced,  has 
always  excited  the  admiration  of  those  who  possessed 
sufficient  knowledge  of  art  to  appreciate  its  merits  at  a 
first  glance.  The  contemplative  turn  of  the  eye,  the 
mild  expression  of  the  mouth,  and  the  beautiful  dispos¬ 
ition  of  the  drapery  at  the  angle  of  the  forehead  suffi¬ 
ciently  attest  the  admirable'  skill  of  the  artist  by  whom 
it  was  executed. 

Heliopolis. — Heliopolis,  the  sacred  city,  the  On,  where 
Joseph’s  wife,  Asenath,  lived.  A  few  scattered  blocks,  a 
solitary  obelisk  covered  with  hieroglyphics,  these,  with 
some  mounds  of  sand  and  rubbish,  are  all  that  is  left  to 
mark  the  site  of  the  once  priestly  city. 

The  Simoom. — In  crossing  the  desert  travelers  are 
frequently  exposed  to  the  Simoom  or  sand  storm.  Its 
approach  is  indicated  by  a  redness  in  the  air,  the  sky  is 
suddenly  overcast,  clouds  of  hot  sand  obscure  every¬ 
thing,  and  often  render  further  progress  for  the  time 
impossible.  The  whole  caravan,  camels  and  men,  then 
lie  prostrate  on  the  ground  till  it  passes  over. 

Colossal  Statues  of  Thebes. — The  Colossi  of  the 
plain.  These  immense  sitting  figures,  fifty-three  feet 
above  the  plain,  which  has  buried  their  pedestals,  were 
erected  by  Amunoph  III,  and  were  originally  in  front  of 
a  large  temple,  of  which  only  the  ground-plan  remains. 
The  more  distant  statue  is  the  vocal, Memnon  of  history. 
An  inscription  made  by  one  of  the  Roman  emperors 
records  the  hearing  of  musical  sounds. 


SCIOPTICON  MANUAL. 


115 


Obelisk  and  Propylon  Luxor. — Part  of  the  ruins 
of  Thebes  shows  the  arrangements  that  the  Egyptians 
adopted  in  their  temples.  The  entrance  by  a  doorway 
between  two  immense  moles  of  stonework,  termed  pylse. 
The  victories  of  Rameses  are  sculptured  on  the  face  of 
the  pylon;  but  his  colossi,  solid  figures  of  granite,  which 
sit  on  either  side  of  the  entrance,  have  been  much  de¬ 
faced.  The  lonely  obelisk,  seen  a  little  in  advance  to 
the  left,  is  more  perfect  than  its  mate,  which  now  stands 
in  the  Place  de  la  Concorde,  at  Paris. 

Colossal  Statue  Remeses. — The  mutilated  statue  in 
this  view  was  the  largest  monolithic  figure  transported 
by  the  Egyptians  from  the  place  where  it  was  quarried. 
Its  weight  when  entire  was  nearly  nine  hundred  tons, 
and  this  statue  now  lies  in  enormous  fragments  around 
its  pedestal.  The  statue  in  its  sitting  position  must  have 
been  nearly  sixty  feet  in  height,  and  is  the  largest  in 
the  world;  one  of  its  toes  is  a  yard  in  length.  The  Turks 
and  Arabs  have  cut  several  mill-stones  out  of  its  head 
without  any  apparent  diminution  of  its  size. 

Approach  to  the  Temple  at  Karnak. — From  the 
entrance  of  the  temple  at  Luxor  to  the  pylon  at  Karnak, 
a  distance  of  a  mile  and  a  half,  an  avenue  of  colossal 
sphinxes  once  existed.  The  sphinxes  have  disappeared 
and  an  Arab  road  leads  over  the  site.  On  reaching  the 
vicinity  of  Karnak  the  camel  path  drops  into  a  broad 
excavated  avenue,  lined  with  fragments  of  sphinxes. 
As  you  advance  the  sphinxes  are  better  preserved  and 
remain  seated  on  their  pedestals,  but  they  have  all  been 
decapitated.  Though  of  colossal  proportions,  they  are 
seated  so  close  to  each  other  that  it  must  have  required 
nearly  two  thousand  to  form  the  double  row  to  Luxor. 
The  avenue  finally  reaches  a  single  pylon,  of  majestic 


116 


SCIOPTICON  MANUAL. 


proportions,  built  by  one  of  the  Ptolemys  and  covered 
with  profuse  hieroglyphics.  Passing  through  this,  am 
other  pylon,  followed  by  a  pillared  court,  and  a  temple 
built  by  the  later  Eemisides. 

Hall  of  Columns  at  Karnak. — Three  thousand 
years  ago  and  this  forest  of  columns  was  standing.  Here 
Cambyses  stayed  his  chariot- wheels  to  gaze  in  wonder  at 
the  triumphs  of  architecture.  Here  Sesostris  was  wel¬ 
comed  back  with  the  loud  acclaim  of  millions  from  his 
conquests.  The  Caesars  were  awed  into  humility  when 
they  trod  these  aisles,  and  even  the  Arab  hosts,  as  they 
swept  by  on  the  tide  to  victory,  paused  to  admire ;  and 
the  armies  of  France,  as  they  rushed  in  pursuit  of  the 
flying  Memlooks,  were  so  struck  with  amazement  at 
the  ruins  that  they  fell  upon  their  knees  in  homage  and 
rent  the  air  with  their  shouts  of  applause. 

The  main  aisle  is  composed  of  an  avenue  of  twelve 
pillars,  six  on  each  side,  each  thirty-six  feet  in  circum¬ 
ference  and  nearly  eighty  in  height.  Ponderous  masses 
of  sculptured  stone.  The  spreading  bell  of  the  lotus 
blossoms  crown  them  with  an  atmosphere  of  lightness 
and  grace.  On  each  side  of  the  main  aisle  are  seven  other 
rows  of  columns,  one  hundred  and  twenty-two  in  all,  of 
immense  size,  and  so  close  as  sometimes  not  to  allow  a 
column  that  has  lost  its  erect  position  to  fall  to  the 
ground.  They  date  from  the  time  of  Eameses  III,  the 
Sesostris  of  Greek  writers.  These  columns  are  a  good 
illustration  of  the  way  in  which  the  Egyptians  covered 
all  parts  of  their  buildings  with  inscriptions. 

The  Obelisks  at  Karnak. — These  obelisks,  the  most 
ancient  now  standing  in  Egypt,  date  about  1800  B.  C. 
They  are  granite,  and  retain  the  sharpness  of  their 
angles  in  a  wonderful  manner.  This  view  shows  in  a 


SCIOPTICON  MANUAL. 


117 


striking  manner  the  desolation  that  prevails  over  all 
these  Egyptian  ruins.  The  total  circumference  of  Kar- 
nak,  including  its  numerous  pylse  or  gateways,  is  a  mile 
and  a  half.  The  row  of  columns  seen  in  the  picture  are 
part  of  the  Hall  of  Columns. 

The  Approach  to  Phil^e. — Philae,  the  “Jewel  of  the 
Nile,”  is  situated  a  short  distance  from  those  rapids  of 
the  Nile,  known  as  the  first  cataracts.  These  cataracts 
are  formed  by  the  bed  of  the  river  being  crossed  by  a 
formation  of  granite,  through  which  it  has  cut  its  way, 
producing  a  series  of  rapids.  Opposite  to  these  cataracts 
stood  the  ancient  city  of  Syene.  It  was  from  the  quarries 
at  Syene  that  the  Egyptians  obtained  their  monoliths, 
whether  obelisks  or  statues.  These  were  sculptured  on 
the  spot,  and  then  transported  by  the  labor  of  men  to 
the  places  where  they  were  to  be  erected.  The  island 
of  Philae  contains  about  fifty  acres,  and  is  covered  with 
ruins  of  temples  and  palaces,  all  of  which  belong  to  the 
Ptolemaic  period.  The  basin  of  black  jagged  mountains 
folding  it  in  on  all  sides,  yet  half  disclosing  the  avenues 
to  Nubia  and  Egypt;  the  clusters  of  palms,  with  here 
and  there  a  pillar  or  wall  of  a  temple,  the  ring  of  the 
bright  river,  no  longer  turbid,  as  in  lower  Egypt;  of 
these  it  is  the  centre,  as  it  was  once  the  focus  of  their 
beauty. 

Yiew  on  the  Island  of  Philae. — The  temple  which 
belongs  to  the  era  of  the  Ptolemys,  and  is  little  more 
than  two  thousand  years  old,  was  built  by  various  mon- 
archs,  and  is  very  irregular  in  its  plan.  The  columns  of 
the  temple  are  very  different  from  those  of  Luxor  and 
Karnak,  indicating  the  result  of  the  contact  of  Greek  and 
Egyptian  systems  of  architecture.  Above  the  true  capi¬ 
tal  is  a  square  block  that  bears  on  its  four  sides  the  head 


118 


SCIOPTICON  MANUAL. 


of  Osiris,  under  the  form  of  a  bull.  It  was  into  this 
form  of  idolatry  that  the  Israelites  were  so  constantly 
lapsing,  termed  in  Scripture,  the  Worship  of  the  G-olden 
Calf. 

Pharaoh’s  Bed,  Philje. — This  temple  is  almost  per¬ 
fect  ;  it  never  had  and  never  was  intended  to  have  a  roof. 
It  is  one  of  that  class  termed  Hypoethral  temples,  from 
their  being  open  to  the  sky.  Its  name,  Pharaoh’s  Bed, 
is  derived  from  a  tradition  that  Osiris  was  buried  at 
Philse,  and  from  this  it  was  that  the  Egyptians  were  in 
the  habit  of  swearing  by  him  who  lies  at  Philee. 

Sculptured  Gateway. — This  is  a  good  illustration  of 
the  way  in  which  almost  all  parts  of  the  buildings  were 
covered  with  inscriptions.  The  large  figures  on  this 
doorway  were  originally  painted  in  bright  colors,  and 
on  some  of  these,  patches  of  the  original  paint  still  re¬ 
main. 

Temple  Edeou. — This  is  perhaps  the  best  specimen 
extant  of  the  pylon  of  the  Egyptian  temples;  it  is  up¬ 
wards  of  one  hundred  feet  in  height,  but  a  considerable 
part  of  the  base  is  covered  up  with  sand,  which  has  also 
almost  filled  up  the  area  of  the  temple.  In  this  part 
the  valley  of  the  Kile  is  wider  than  in  many  places;  it 
varies  from  about  ten  miles  in  width  to  only  enough  to 
allow  of  the  passage  of  the  river.  Many  of  the  temples 
are  built  close  to  the  waters  of  the  sacred  river.  , 

Temple  of  Kalabshe,  Kubia. — The  space  inclosed 
within  the  ruins  of  this  temple  is  covered  with  sculp¬ 
tured  figures,  among  which  the  most  remarkable  is  the 
representation  of  a  human  sacrifice,  where  the  victim, 
whose  whole  clothing  consists  of  a  scanty  waist-cloth, 
is  on  his  knees  with  his  hands  tied  behind  his  back. 


SCIOPTICON  MANUAL. 


119 


Behind  him  stands  a  priest  with  lofty  mitre,  who  with 
one  hand  holds  him  by  his  long  hair,  while  in  the  other 
he  brandishes  a  small  axe,  ready  to  strike  off  his  head. 
This  horrid  scene  takes  place  in  the  presence  of  Osiris 
Hierax,  who  is  seated  on  his  throne  enjoying  the  spec¬ 
tacle. 

The  Shadoof. — This  view  presents  a  scene  on  the 
Nile.  A  group  of  stately  palm  trees,  tall  and  slender, 
with  feathery  plumes  on  their  proud  heads,  and  large 
clusters  of  golden  fruit.  The  shadoof  is  a  simple  con¬ 
trivance  for  raising  water ;  a  method  very  common  both 
in  ancient  and  modern  Egypt.  It  consists  of  a  lever 
moving  on  a  pivot,  which  is  loaded  at  one  end  with  a 
lump  of  clay,  or  some  other  weight,  and  has  at  the  other 
a  bowl  or  basket,  as  seen  in  the  picture.  Wells  have 
usually  troughs  of  wood  or  stone,  into  which  the  water 
is  emptied  for  the  use  of  persons  or  animals  coming  to 
the  well. 

VIEWS  OF  INTEREST  IN  DIFFERENT  PARTS  OF  THE 
WORLD. 

These  are  described  in  gazetteers,  and  to  some  extent 
in  school  geographies.  Some  lecturors  appear  as  very 
accomplished  travellers  by  using  well-written  guide-books. 

Eor  an  acquaintance  with  historical  pictures,  we  may 
consult  the  histories  of  the  times. 

With  regard  to  “  views  conveying  moral  lessons,”  the 
name  of  each  slide  affords  a  text  upon  which  the  lecturer 
may  base  what  remarks  he  may  have  to  offer. 

NURSERY  TALES. 

English  catalogues  contain  many  familiar  poems  and 
stories,  particularly  the  nursery  tales,  which  are  illus¬ 
trated  by  lantern  slides.  Not  having  room  to  reprint 


120 


SCIOPTICON  MANUAL. 


these  here,  we  would  refer  to  the  toy  books  everywhere 
sold  for  these  wonderful  specimens  of  English  literature. 
At  the  risk,  however,  of  making  the  rest  of  our  matter 
seem  prosy  by  contrast,  we  will  copy  just  the  closing 
part  of  the  description  of  a  long  slide  of  animals,  to 
indicate  how  much  is  made  to  depend  on  words  and 
music,  and  how  little  on  the  merits  of  the  slide. 

[ Sound  of  Horn.  Music.  Last  tune  of  the  11  Lancers.”] 

Yes,  here  we  are  in  full  cry  !  The  real  thing,  too !  I 

“  Old  Mother  Slipper  Slopper  jumped  out  of  bed, 

And  out  of  the  window  she  poked  her  head ; 

Husband  !  O  husband  !  the  gray  goose  is  dead, 

And  the  fox  is  gone  out  of  the  town,  0 !  ” 

Yes,  there  he  goes,  and  the  old  lady  after  him,  and  she 
has  called  up  John,  the  servant,  and  he  joins  in  the  chase, 
and  old  Mr.  Slipper  Slopper  comes  next ;  but  he’s  rather 
behind,  as  he’s  been  to  call  “  Bumble,”  the  parish  con¬ 
stable,  who  has  come  out  with  his  staff  to  catch  the  thief. 
Tally  ho ! 

And  now,  my  children,  recollect  I  told  you  that  the 
lion  was  the  king  of  the  beasts,  and  so,  as  a  conclusion 
to  this  entertainment,  I  shall  show  you  how  he  kept  his 
court.  ( Music .) 

There  he  is,  sitting  in  full  state ;  and  now,  if  our  kind 
friend  at  the  piano  will  play  a  “  March,”  you  shall  see  a 
grand  procession,  and  all  the  animals  passing  in  order 
before  him. 

[“  Grand  March,”  during  which  the  slide  is  moved  slowly. ] 

Good  Night. 

Tune  and  Motto,  “  God  Save  the  Queen.” 


SCIOPTICON  MANUAL. 


121 


COMPOSITION  PICTURES. 


The  miscellaneous  views  in  Class  X  are  mostly  com¬ 
position  pictures,  suggesting  their  own  descriptions. 
Take,  for  example,  this  picture  of  the  milkmaid. 


The  cow,  so  gently  submitting  to  the  maiden’s  manip¬ 
ulations,  evidently  feels  quite  at  home.  Appearances 
indicate  that  she  is  capable  of  giving  a  pailful  of  milk. 
She  has  taken  the  position  convenient  for  the  milkmaid, 
who,  for  the  time,  has  suspended  operations  for  a  social 
chat  with  the  young  farmer  who  is  resting  upon  the  barn¬ 
yard  gate.  We  may  not  hear  what  they  say,  but  little 
sister,  doubtless,  is  verifying  the  old  adage,  that  “  little 
pitchers  have  large  ears.” 

The  two  reclining  animals  may  have  borne  the  yoke 
seen  at  the  left,  during  working  hours,  and  are  now 
wooing 

“  Tired  nature’s  sweet  restorer,  balmy  sleep.” 

The  animal  at  the  right  is  too  young  for  active  service, 
and  has  not  yet  experienced  the  ills  of  a  laborious  life, 
of  which  the  harrow  near  by  is  a  suggestive  emblem. 

9 


122 


SCIOPTICON  MANUAL. 


The  old  hen  in  front  cannot  boast  a  very  numerous 
brood,  but  the  fewer  mouths  the  better  cheer. 

{£  Throw  some  crumbs  and  scatter  seed, 

And  let  the  hungry  chickens  feed.” 

The  farmhouse  od  the  rising  ground,  nestled  among 
the  trees,  has  an  imposing  appearance,  but  it  is  nothing 
to  be  compared  to  the  elegant  castles  built  in  the  air  by 
that  admiring  young  farmer  and  the  loving  maiden. 
May  the  course  of  their  true  love  ever  run  smooth. 

STATUARY. 

Statuary  and  many  other  pictures  may  also  be  an¬ 
nounced,  and  then  described  by  what  the  picture  itself 
shows,  as  in  the  example  following : 

The  Council  of  War,  by  John  Rodgers. — President 
Lincoln  is  seated  and  holding  before  him  a  map  of  the 
campaign.  Secretary  Stanton  stands  behind  his  chair, 
wiping  his  glasses  and  listening  to  General  Grant,  who 
is  explaning  his  plan,  which  he  is  pointing  out  on  the 
map. 

The  Seasons,  by  Thorwaldsen. — Four  circular  bas- 
reliefs,  viz. : 

Spring . — A  female  figure,  attended  by  two  genii  bear¬ 
ing  baskets  of  flowers. 

Summer. — A  harvest  scene,  with  a  group  of  reapers. 

Autumn. — A  hunter  returns  to  his  home  bearing  game ; 
a  woman  and  child  (seated  beneath  a  grape  vine)  receive 
him. 

Winter. — An  old  man  warming  his  hands  over  a  brazier, 
while  an  old  woman  lights  her  lamp. 

11  Behold,  fond  man  I 

See  here  thy  pictured  life  ;  pass  some  few  years, 

Thy  flowering  spring,  thy  summer’s  ardent  strength, 


SCIOPTICON  MANUAL. 


123 


Thy  sober  autumn  fading  into  age, 

And  pale  concluding  winter  comes  at  last 
And  shuts  the  scene.” 

MOVABLE  SLIDES. 

These  of  course  tell  their  own  story.  Now  and  then, 
an  appropriate  recitation  can  he  found  for  them. 

The  swan  floating  upon  the  moving  waters,  for  in¬ 
stance,  may  be  assumed  as  illustrating  the  legend  that 
her  first  and  only  song  is  sung  as  she  floats  down  the 
river  on  her  dying  day. 

“  ’Tis  the  swan,  my  love, 

She  is  floating  down  from  her  native  grove, 

No  loved  one  now — no  nestling  nigh — 

She  is  floating  down  by  herself  to  die. 

Death  darkens  her  eye  and  unplumes  her  wings, 

Yet  the  sweetest  song  is  the  last  she  sings. 

Live  so,  my  love,  that  when  Death  shall  come, 
Swan-like  and  sweet,  it  may  waft  thee  home.” 

Spectators,  in  the  limited  time  given  them,  can  hardly 
be  expected  to  take  in  all  the  details  of  a  complex  view, 
without  more  or  less  of  this  particularizing,  which  can  be 
resorted  to  as  occasion  requires,  therefore,  in  connection 
with  a  wide  range  of  subjects. 

SCIENTIFIC  SLIDES,  Ac. 

The  illustrations  enumerated  in  the  Scientific  Depart¬ 
ment,  of  the  appended  catalogue,  are  suited  to  the  text¬ 
books  in  common  use.  Works  on  natural  history  afford 
descriptions  of  beasts,  birds,  fishes,  reptiles,  and  insects. 
Botany  describes  plants  and  flowers. 

The  explanations  in  Wells's  Geology,  Cutter’s  Physi- 
ology,  &c.,  are  just  as  well  suited  to  the  corresponding 


124 


SCIOPTICON  MANUAL. 


classes  of  lantern  slides,  because  they  are  mostly  after 
the  same  designs. 

The  set  of  long  astronomical  slides  has  from  time 
immemorial  been  accompanied  by  a  printed  lecture, 
which,  though  somewhat  antiquated,  still  answers  a 
pretty  good  purpose. 

Could  a  suitable  lecture  of  similar  shape  accompany 
each  of  the  forty  sets  of  scientific  illustrations,  it  would 
prove  advantageous  to  many,  and  it  would  do  no  harm 
to  any;  so  we  are  looking  for  something  of  the  sort  in 
the  near  future.  But  these  sets  of  scientific  slides  them¬ 
selves  leave  scarcely  anything  to  be  desired  in  the  way 
of  fitness  and  excellence;  and  we  have,  moreover,  in 
the  Sciopticon  an  instrument  unrivaled  for  convenience 
combined  with  efficiency. 

As  before  intimated,  little  has  been  attempted  in  this 
chapter  but  to  indicate  some  of  the  ways  of  finding 
descriptions. 

When  the  use  of  the  magic  lantern  was  very  limited, 
its  slides  could  be  described  in  small  compass;  but  now, 
a  work  that  should  describe  all  the  slides  in  use,  would 
hardly  be  less  voluminous  than  the  Encvclopedia  Bri- 
tannica. 


SCIOPTICON  MANUAL. 


125 


CHAPTER  IX. 

DESCRIPTION  OF  THE  SCIOPTICON. 

[From  the  Journal  of  the  Franklin  Institute.'] 

“Our  attention  was  drawn  some  time  since  to  this 
very  decided  improvement  in  lanterns  illuminated  by 
ordinary  flames,  by  which  their  efficiency  is  so  greatly 
increased  that  many  results  can  be  reached  which  were 
heretofore  only  attainable  by  aid  of  the  lime  or  magne¬ 
sium  lights. 

“The  most  important  feature  in  this  apparatus  is  the 
lamp,  or,  as  it  might,  in  this  case,  be  called,  from  its 
appearance,  the  furnace.  This  source  of  action  to  the 
entire  machine  is  placed  in  a  cylindrical  chamber,  pro¬ 
vided  with  a  chimney,  and  has  two  flat  wicks,  one  aud  a 
half  inches  long,  parallel  to  each  other  and  to  the  axis 
of  the  chamber,  and  in  fact  the  optical  axis  of  the 
instrument.  The  flames,  or  rather  sheets  of  flame, 
that  rise  from  these  wicks  are  drawn  together  by  the 
arrangement  of  the  draft,  and  so  form  a  pointed  ridge 
or  edge  of  intense  light  in  the  axis  of  the  condensers. 
We  have,  on  various  occasions,  alluded  to  the  fact  long 
ago  pointed  out  by  Rumfort,  that  flame  was  practically 
transparent.  Here  this  property  is  utilized,  and  by  rea¬ 
son  of  it  we  can  get  through  the  condenser  all  the  accu¬ 
mulated  brightness  of  the  long  line  of  light,  one  and  a 
half  inches  deep. 

“We  have  witnessed  a  number  of  experiments  with 
this  lantern,  and  can  fully  indorse  it  as  a  great  advance 
upon  any  thing  before  used  in  the  shape  of  a  lamp-illu¬ 
minated  magic  lantern. 


126 


S Cl  OP T I  CON  MANUAL. 


“  For  a  parlor  or  school  exhibition,  it  may  well  take 
the  place  of  the  far  more  troublesome  oxy-calcium  lan¬ 
tern,  which  it  rivals  in  efficiency.  - 

“  There  are  many  details  of  construction  which  are  of 
very  ingenious  and  efficient  character,  among  which  we 
would  specially  notice  the  slide  for  pictures,  by  which, 
one  picture  being  in  use,  another  may  be  removed  and 
exchanged,  and  then,  by  a  single  movement,  brought 
into  the  field,  while  the  other  is  in  like  manner  ready 
for  substitution.” 

THE  MAGIC  LANTERN  FROM  1650  TO  1870. 

[From,  the  Scientific  American.  ] 

“The  invention  of  the  Magic  Lantern  dates  back  to 
1650,  and  is  attributed  to  Professor  Kircher,  a  German 
philosopher  of  rare  talents  and  extensive  reputation. 
The  instrument  is  simple  and  familiar.  It  is  a  form  of 
the  microscope.  The  shadows  cast  by  the  object  are, 
by  means  of  lenses,  focused  upon  something  capable  of 
reflection,  such  as  a  wall  or  screen.  Mo  essential  changes 
in  the  principles  of  construction  have  been  made  since 
the  time  of  Kircher;  but  the  modern  improvements  in 
lenses,  lights,  and  pictures  have  raised  the  character  of 
the  instrument  from  that  of  a  mere  toy  to  an  apparatus 
of  the  highest  utility.  By  its  employment  the  most 
wonderful  forms  of  creation,  invisible,  perhaps,  to  the 
eye,  are  not  only  revealed,  but  reproduced  in  gigantic 
proportions,  with  all  the  marvelous  truth  of  nature  itself. 
The  success  of  some  of  the  most  celebrated  demonstra¬ 
tions  of  Faraday,  Tyndall,  Doremus,  Morton,  and  others, 
was  due  to  the  skilful  use  of  the  Magic  Lantern.  As  an 
educator,  the  employment  of  this  instrument  is  rapidly 
extending.  Mo  school  apparatus  is  complete  without  it; 


SCIOPTICON  MANUAL. 


127 


and  now  that  transparencies  are  so  readily  multiplied  by 
photography  upon  glass,  upon  mica,  or  gelatin,  by  the 
printing  press  or  the  pen,  it  is  destined  to  find  a  place 
in  every  household;  for  in  it  are  combined  the  attrac¬ 
tive  qualities  of  beauty,  amusement,  and  instruction. 

“  The  electric  light  affords  probably  the  strongest  and 
best  illumination  for  the  Magic  Lantern;  then  comes 
the  magnesium  light ;  but  their  use  is  a  little  trouble¬ 
some  and  rather  expensive ;  next  to  these  in  illuminating 
power  is  the  oxy-hydrogen  or  Drummond  light.  The 
preparation  of  the  gases  and  the  use  of  the  calcium 
points  involve  considerable  skill. 

“Need  has  long  been  felt  for  some  form  of  the  Magic 
Lantern  having  a  strong  light,  but  more  easily  produced 
than  any  of  those  just  mentioned;  and  this  has  at  last 
been  accomplished,  after  several  years’  study  and  experi¬ 
ment,  by  Professor  L.  J.  Marcy. 

“  The  Sciopticon  is  the  name  of  his  new  instrument, 
and  from  actual  trial  we  find  that  it  posseses  many 
superior  qualities.  Its  lenses  are  excellent,  and  in  illu¬ 
minating  power  its  light  ranks  next  to  the  oxy-hydro¬ 
gen.  The  Sciopticon  light  is  produced  from  ordinary 
coal  oil,  by  an  ingenious  arrangement  of  double  flames, 
intensifying  the  heat  and  resulting  in  a  pencil  of  strong 
white  light.  Professor  Marcy’s  instrument  is  the  per¬ 
fection  of  convenience,  simplicity,  and  safety.  Any  one 
may  successfully  work  it,  and  produce  the  most  brilliant 
pictures  upon  the  screen.  It  is  peculiarly  adapted  for 
school  purposes  and  home  entertainment.  Those  who 
wish  to  do  a  good  thing  for  young  people  should  provide 
one  of  these  instruments.  Photographic  transparencies 
of  remarkable  places,  persons,  and  objects,  may  now  be 
purchased  at  small  cost,  while  there  is  no  end  to  the 
variety  of  pictures  which  may  be  drawn  by  hand  at 

7 


128 


SCIOPTICON  MANUAL. 


home,  upon  mica,  glass,  or  gelatin,  and  then  reproduced 
upon  the  screen  by  the  Sciopticon.” 

TRAVELLING  BT  MAGIC. 

BY  EDWARD  L.  WILSON. 

Editor  of  the  Philadelphia  Photographer,  and  Photographic  World. 

Marcy’s  Sciopticon  is  what  we  want  to  give  us  a  view 
of  the  world  at  large,  while  seated  in  our  own  drawing¬ 
room,  enjoying  all  the  comforts  of  home,  and  the  pleas¬ 
ures  of  social  intercourse. 

Give  us  the  Sciopticon,  with  the  necessary  slides, 
before  a  screen  or  a  white  wall,  and  we  will  carry  you 
as  fast  or  as  slow  as  you  wish,  wherever  the  foot  of  man 
has  trod,  in  excellent  and  comfortable  style. 

First  we  look  upon  the  screen  and,  in  imagination,  we 
go  driving  along  over  the  Union  Pacific  Eailroad.  We 
visit  the  large  cities  on  our  way,  and  get  as  good  ideas 
of  their  grain  elevators  and  their  churches  as  if  we  stood 
by  their  side.  We  see  the  Mormon  tabernacle,  and  cap¬ 
ture  Brigham  in  person  for  our  screen.  On  we  go,  over 
the  prairies,  amid  the  bufialoes,  dodging  under  the  great 
snow-sheds,  climbing  up  the  inclines  of  the  jagged  Si¬ 
erras,  and  lo!  (not  “the  poor  Indian  ”)  we  stand  watch¬ 
ing  the  gambols  of  the  seals  in  San  Francisco  Bay, 
straining  our  eyes  to  reach  the  summit  of  El  Capitan  in 
the  Yosemite  Yalley,  listening  to  the  rustlings  of  the 
Bridal  Veil,  or  clambering  up  the  sides  of  “General 
Grant  ”  in  the  Mariposa  Grove. 

Or,  we  may  glide  up  the  Hudson,  capturing  the  Pali¬ 
sades,  storming  the  Highlands,  wander  amid  the  seduc¬ 
tive  music  of  Trenton  Falls,  cross  Lake  George,  “do” 
Saratoga,  “flee  to  the  mountains,”  squeeze  through  the 
Crawford  Notch,  clamber  up  Mount  Willard,  ascend 


SCIOPTICON  MANUAL. 


129 


Mount  Washington  on  the  wonderful  railway,  descend 
to  the  Glen,  glide  around  to  the  Profile  House,  face 
Eagle  Cliff,  kiss  our  hands  to  the  “  Old  Man  of  the  Moun¬ 
tain/’  shake  up  the  echoes  on  the  lake,  and  dare  the 
boulder  in  the  flume,  all  in  one  half  hour. 

Then,  after  we  have  seen  Niagara  from  a  hundred 
standpoints,  views  made  in  winter  and  summer,  and 
travelled  up  the  Mississippi,  through  Watkin’s  Glen,  in¬ 
haled  the  freshness  of  White  Sulphur  Springs,  wandered 
among  the  wildernesses  of  North  Carolina,  and  seen  Flor¬ 
ida  and  Cuba,  not  to  forget  the  Mammoth  Cave,  we  may 
go  over  to  Europe.  There  we  ascend  the  Alps  with  Prof. 
Tyndall,  go  down  into  the  caverns,  and  clamber  among 
the  icicles,  or  traverse  the  awful  glaciers  with  their 
yawning,  ever-hungry  crevices. 

Or  we  may  see  in  the  same  way  the  ruins  of  India, 
the  mysteries  of  Pompeii,  the  tombs  and  pyramids  of 
Egypt,  or  Rome’s  seven  hills  covered  with  glories,  to 
say  nothing  of  humiliated  Paris  or  exultant  Germany. 

Everything  that  photography  can  produce  may  be 
served  up  in  excellent  style,  and  with  little  trouble 
through  the  instrumentality  of  Marcy’s  Improved  Magic 
Lantern.  Last  evening  I  had  the  pleasure  of  entertain¬ 
ing  and  delighting  a  whole  company  of  men,  women, 
and  children  for  an  hour  or  two  in  this  way,  at  the  ex¬ 
treme  cost  of  five  cents  for  coal  oil ! 

The  great  efficiency  of  the  Sciopticon,  as  compared 
with  any  other  lamp-illuminated  lantern,  together  with 
its  simplicity,  symmetry,  and  compactness,  its  safety, 
convenience,  and  fitness  for  slides  of  every  variety  and 
for  various  philosophical  experiments,  makes  it  unri¬ 
valled  for  home  and  school  purposes. 

No  doubt  Mr.  Marcy’s  explanation  of  it  will  be  ap¬ 
preciated,  and  I  need  only  add  that  I  would  not  want 


130 


SCIOPTICON  MANUAL. 


to  be  without  a  Sciopticon  in  my  house.  It  gives  one 
such  enlarged  views  of  everything. 

SCIOPTICON  FOR  SUNDAY-SCHOOLS. 

BY  E.  D.  JONES,  ESQ., 

president  Missouri  State  Sunday-School  Association. 

“  While  the  great  aim  of  all  Sunday-school  effort  is  to 
teach  the  word  of  God,  seek  the  conversion  of  scholars, 
and  train  such  in  the  ways  of  holy  living,  yet  there  are 
appliances  and  helps  that  may  be  used  to  attract  and  in¬ 
terest  young  minds  where  they  do  not  in  any  way  con¬ 
flict  with  the  grand  object  of  the  school. 

“  It  is  a  religious  institution,  and  its  interests  should 
be  well  guarded  from  all  that  would  in  any  way  lower 
the  dignity  of  its  mission.  Some  time  since  I  introduced 
the  Sciopticon,  a  recent  improvement  in  the  line  of  the 
Magic  Lanterns,  of  which  Prof.  L.  J.  Marcy,  of  Phila¬ 
delphia,  is  the  patentee. 

“  I  found  the  instrument  wonderfully  simple  in  con¬ 
struction  and  management.  Its  lamp  burns  simple  coal 
oil  and  gives  a  most  intense  light,  and  in  the  production 
of  pictures  on  the  wall  or  on  the  screen  equals  any  of  the 
most  expensive  Magic  Lanterns,  with  calcium  lights, 
that  cost  so  much  labor  and  expense.” 

SCIENCE  AT  HOME. 

(Communication  from,  the  President  of  Franklin  Institute.) 

Mr.  L.  J.  Marcy. 

Lear  Sir:  Luring  the  winter  of  1872-73  1  was  in¬ 
terested  in  lantern  experiments,  using  the  lime  light  as 
the  source  of  illumination.  At  the  same  time  I  made 
frequent  use  of  your  very  admirable  Sciopticon,  with 
oil  lamps.  The  readiness  with  which  it  can  be  adjusted 
and  made  ready  for  use  impressed  me.  For  parlor  use, 


SCIOPTICON  MANUAL. 


131 


as  a  magic  lantern,  I  very  much  preferred  it  on  this 
account,  to  the  more  troublesome  lime  light.  Its  con¬ 
venience  recommends  it  as  an  adjunct  to  the  school-room 
and  I  found  that  very  many  of  the  most  interesting  ex¬ 
periments  in  physics,  usually  shown  in  a  lantern,  can  be 
readily  performed  with  the  Sciopticon.  My  good  friend, 
Prof.  Henry  Morton,  of  the  Stevens  Institute  of  Tech¬ 
nology,  in  Hoboken,  has  already  described  many  of  these 
experiments  in  your  manual.  I  have  told  you  how  I 
have  repeated  many  of  them  with  very  little  expense 
in  the  way  of  apparatus,  and  I  would  now  suggest  to  the 
would-be  purchasers  of  your  lanterns,  that  should  they 
desire  to  use  it  as  an  adjunct  to  the  lecture  table,  they 
need  not  be  alarmed  at  the  expenditure  needed  to  pro¬ 
cure  all  the  fixtures  required  to  perfect  it.  One  of  the 
chief  pleasures  in  its  use  is  in  the  improvising  of  what 
is  needed.  Those  who  have  long  purses  may  prefer  to 
purchase  all  needed  pieces  of  apparatus,  ready-made  to 
their  hand,  but  a  few  hints  may  serve  to  show  how  they 
can,  with  very  little  skill,  prepare  what  will  answer  their 
purpose.  As  an  illustration,  let  me  recall  the  very  pretty 
experiment  usually  called  the  broken  arrow,  which  is 
shown  to  illustrate  refraction.  As  an  object  in  the  lan¬ 
tern,  a  brass  plate  having  an  arrow-shaped  opening  in 
it  (procurable  at  the  instrument  makers)  is  put  in  place, 
this  throws  upon  the  screen  a  white  arrow  on  a  dark 
ground ;  now,  if  in  front  of  the  brass  plate  a  strip  of 
thick  glass,  narrower  than  the  length  of  the  arrow,  be 
held  parallel  with  its  surface,  no  distortion  of  the  arrow 
image  will  be  seen;  but  if  the  glass  be  inclined  so  that 
the  rays  of  light  pass  through  it  obliquely,  a  piece  of 
the  arrow  will  seem  to  be  cut  out  and  be  moved  to  one 
side.  This  is  a  striking  illustration  and  can  be  impro¬ 
vised  quite  readily,  as  follows :  Procure  some  slips  of 


132 


SCIOPTICON  MANUAL. 


good  window  glass,  of  the  size  used  for  magic  lantern 
slides  (I  prefer  3x4),  some  tin-foil,  such  as  paper-hangers 
paste  on  damp  walls  before  papering,  and  some  paste 
made  of  gum  tragacanth;  with  a  sharp  knife,  laying 
the  foil  on  a  plate  of  glass,  the  arrow-shaped  opening 
can  he  readily  cut,  and  its  edges  will  be  as  smooth  as 
the  most  skilful  mechanic  can  make  a  brass  plate.  This 
foil,  so  prepared,  should  be  mounted  between  two  slips 
of  glass,  and  the  edges  bound  with  paper.  Gum  traga¬ 
canth  will  cause  paper  to  adhere  to  glass  very  firmly  and 
is  a  nice,  clean  paste  to  use.  The  slide  thus  prepared 
will  he  found  to  be  quite  as  good  as  the  most  costly  one 
procurable  in  the  stores.  In  my  own  experiments,  when 
I  require  slits  or  openings  of  any  required  shape,  in 
opaque  plates,  I  have  invariably  made  them  in  this 
manner,  with  a  feeling  of  satisfaction  at  their  cheapness. 

A  very  convenient  device  to  show  wave  motion  can 
be  made  with  this  tin  foil.  One  slide  is  made  with  plates 
of  glass,  3x4  inches,  having  tin  foil  inclosed,  in  which  slits 
are  cut  crossways,  say  inch  wide,  2  inches  long,  and 
the  slits  placed  $  of  an  inch  apart.  I  have  sometimes 
pasted  slips  of  tin  foil  i  of  an  inch  across  the  plate,  at 
equal  distances,  say  T*g-  of  an  inch,  in  preference  to  cutting 
them  in  a  solid  piece  of  foil.  This  slide  will  show  ver¬ 
tical  bars  of  light  on  the  screen.  If  now  another  slide  be 
made  of  two  glasses,  3x6  inches,  with  foil  between  them, 
in  which  foil  a  wave-like  opening  be  cut,  say  i  of  an  inch 
wide,  this  slide  of  itself  would  show  in  the  lantern  a  wave 
line  of  white  on  a  dark  ground  on  the  screen.  The  two 
slides  put  together  in  the  lantern  will  show  a  wave  line 
of  dots,  and  if  the  wave-line  slide,  which  is  twice  as  long 
as  the  one  with  bars,  be  moved  back  and  forth  in  front 
of  the  bars,  the  dots  will  seem  to  rise  and  fall  in  wave 
motions,  and  the  fact  will  be  demonstrated,  that  in  wave 


SCIOPTICON  MANUAL. 


133 


motions  there  is  an  advancement  of  the  wave,  while  the 
individual  particles  only  rise  and  fall  without  advancing. 

The  slips  of  glass,  mentioned  above,  can  be  con¬ 
veniently  prepared  for  drawing  diagrams,  by  coating  one 
side  with  plain  collodion  (gun  cotton  dissolved  in  equal 
parts  of  alcohol  and  ether) ;  when  dry  this  surface  takes 
India-ink  admirably,  and  diagrams  can  be  traced,  or 
pictures  copied  in  a  rough  way,  by  laying  the  glass  plate 
so  prepared  over  the  picture  to  be  copied  and  tracing 
its  outline  with  a  pen  filled  with  good  India-ink. 

I  would  strongly  advise  any  one  using  your  lantern  to 
procure  some  of  the  comic  slides,  such  as-  you  illustrate 
in  Class  XV  of  your  catalogue  of  slides,  and  they  can  see 
how  to  make  similar  ones  to  be  used  in  illustrations 
of  scientific  subjects.  Thus  with  the  wreck  of  one  of 
these  three  glass  slides,  picked  up  at  some  opticians  and 
purchased  for  a  few  cents,  I  improvised  a  slide  which 
answered  better  to  illustrate  the  process  of  carbon  print¬ 
ing  in  photography  than  the  process  itself  would  have 
done  in  a  lecture-room.  One  figure  changed  with 
another  by  means  of  sliding  glass  plates  is  very  useful 
in  many  kinds  of  experiments  or  illustrations  of  facts 
and  processes. 

The  tank  figured  in  your  manual,  in  Chapter  VII,  on 
Chemical  Experiments,  contributed  by  Prof.  Morton, 
can  be  made  to  do  service  in  a  long  line  of  experiments 
with  electricity,  by  a  very  simple  device.  Thus,  to  illus¬ 
trate  the  decomposition  of  water,  cut  a  slip  of  segar-box 
wood,  of  a  size  that  will  lay  on  the  bottom  of  the  tank 
loosely,  attach  to  this  bit  of  wood  copper  wires,  which 
will  extend  up  to  the  end  of  the  tank  and  will  not  quite 
meet  at  the  centre  of  the  bit  of  wood ;  to  upturned  ends 
at  this  place,  solder  little  slips  of  platina  foil,  f  inch  long 
by  I  inch  wide,  they  must  stafid  vertically  face  to  face. 


184 


SCIOPTICON  MANUAL. 


about  £  inch  apart.  Now  coat  the  copper  wires  and  the 
wood  with  melted  paraffine,  but  take  care  that  none  gets 
on  the  platina;  this  will  insulate  the  copper  wires  and 
prevent  the  wood  from  absorbing  any  moisture.  This 
little  frame  placed  in  the  tank,  immersed  in  acidulated 
water  (water  with  a  few  drops  of  sulphuric  acid),  and 
the  terminal  wires  attached  to  say  two  cells  of  Groves’ 
battery,  will  show  the  decomposition  of  water  admirably. 
A  similar  piece  of  apparatus  with  the  terminal  wires  at 
the  centre  of  the  board,  united  by  a  vertical  coil  of  very 
fine  platina  wire,  will  be  found  useful  in  illustrations  of 
circulation  by  heat.  Such  a  frame  immersed  rn  clear 
water  will  be  seen  on  the  screen  as  a  black  coil,  seem¬ 
ingly  hanging  down  from  a  black  bar  on  the  top  of  the 
screen;  if  now,  by  means  of  a  pipette,  some  colored 
fluid,  say  a  solution  of  permanganate  of  potash  in  water, 
be  carried  to  the  bottom  of  the  tank,  it  will  on  the  screen 
seem  to  spread  itself  out  as  a  red  stripe  under  the  black 
one  and  enveloping  the  little  coil;  a  current  of  elec¬ 
tricity  passed  through  the  wire  will  heat  the  little  platina 
coil  and  thus  heat  the  water  in  contact  with  it,  so  that 
currents  will  be  established  in  the  fluid,  carrying  with 
them  the  colored  fluid  in  a  very  beautiful  curling  cloud 
of  color. 

I  mention  to  you  these  few  examples,  of  how  readily 
the  needful  appliances  for  illustrations  can  be  improvised  ; 
now  I  have  frequently  heard  persons  say  that  they 
“  feared  the  expense  entailed  in  the  use  of  a  lantern  •” 
that  “the  lantern  is  so  useless  without  a  great  many 
accessories,  which  are  so  expensive  in  themselves.” 
Feeling  a  lively  interest  in  your  very  meritorious  in¬ 
vention,  I  have  volunteered  these  hints,  which  I  beg  you 
will,  if  you  see  fit,  use  to  your  benefit. 

Yery  truly  yours, 

Coleman  Sellers. 


SCIOPTICON  MANUAL. 


135 


CHAPTER  X. 

lb*  Smtoev  ftis  ow»  Artist. 

A  PROCESS  FOR  DRAWING  AND  PAINTING  MAGIC 
LANTERN  SLIDES. 

The  following  process  is  given  to  assist  persons  who 
own  a  Sciopticon,  to  prepare  for  themselves  a  portion,  at 
least,  of  the  necessary  transparencies,  especially  educa¬ 
tional  illustrations.  It  has  been  our  aim  to  simplify  the 
whole  matter  as  much  as  possible  consistently  with  giv¬ 
ing  such  directions  as  are  safe  and  practicable.  It  is  true 
that  there  are  some  other  colors  and  materials  which 
can  be  used,  but  the  list  given  below  contains  all  that 
are  necessary  for  the  production  of  hand-made  pictures, 
or  for  coloring  photographs  on  glass  in  this  style. 


LIST  OF  APPARATUS 

Easel, 

Glass  slab, 

Palette-knife, 

Sable  pencils, 

Duster, 

Point  for  erasing, 

Hard  black-lead  pencil, 

Pine  pen, 

Varnish,  Nos.  1  and  2, 

Liq.  India  ink, 

Canada  balsam, 


AND  MATERIALS. 

Siccatif, 

Tube  of  blue-black  in  oil, 
Tube  of  crimson  lake  in  oil, 
Tube  of  Italian  pink  in  oil, 
Tube  of  Prussian  blue  in  oil, 
Tube  of  burnt  sienna  in  oil, 
01.  Turpentine, 

Glass, 

Mats, 

Binding-paper, 

Box  for  the  above  articles. 


For  amateur  work  we  very  decidedly  recommend  that 
the  pictures  should  be  made  on  the  1-4  size  of  glass 
known  to  photographic  stockdealers  as  “  B.  P.  C.” 

After  the  painting  is  finished  and  dry,  it  is  only  nec¬ 
essary  to  cover  with  a  mat  and  another  piece  of  the  same 
glass,  binding  the  edges  with  narrow  strips  of  paper, 
to  give  us  the  form  of  the  “  Woodbury,”  or  of  the  new 
“  Crystal  ”  slide. 

If  the  glass  which  we  recommend  is  used,  simply 


136 


SCIOPTICON  MANUAL. 


breathing  on  and  thoroughly  rubbing  it  with  tissue- 
paper  is  sufficient  for  the  cleaning.  Of  course  the  fin¬ 
gers  must  not  touch  the  surface  of  the  glass  after  it  is 
cleaned. 

The  next  step  is  to  prepare  the  surface  of  the  glass 
for  the  drawing.  If  the  glass  (as  is  usual  with  this  kind) 
is  slightly  curved,  the  concave  side  should  invariably  be 
the  surface  to  receive  the  preparation.  This  preparation 
is  as  follows :  “  The  plate  to  be  dusted  and  gently  warm¬ 
ed;  then  flow  the  surface  with  No.  1  varnish,  and  drain 
into  the  bottle  from  the  corner  of  the  glass.  When  this 
is  dry,  flow  with  No.  2  in  the  same  manner,  and  after¬ 
wards  dry  with  gentle  heat.  Of  course  until  the  var¬ 
nish  is  dry  the  corner  from  which  the  varnish  was 
drained  should  be  kept  down.  Should  dust  find  its  way 
into  the  varnish,  it  can  be  filtered.”  Having  prepared 
the  surface,  it  should  not  be  soiled  by  handling  (always 
take  the  glass  by  the  edge  between  the  fingers).  A 
sketch  can  now  be  made  on  the  surface  with  a  good 
hard  black- lead  pencil,  either  as  an  original  drawing, 
with  the  glass  on  the  easel,  or  by  placing  the  glass  on 
an  engraving  or  other  picture,  and  tracing  the  outline. 

When  this  sketch  or  outline  is  finished,  strong  and 
black  lines  and  marks  can  be  made  with  the  “  liquid 
India-ink  ”  in  a  fine  pen,  gently  used  so  as  not  to  make 
the  lines  too  coarse  and  heavy.  With  the  pen,  too,  lines 
can  be  ruled  or  letters  or  figures  added.  After  the 
drawing  is  finished  and  dry,  any  little  corrections  or 
scratches  can  be  made  with  the  pointed  eraser. 

The  easel  should  be  so  placed  that  the  light  falling  on 
the  white  tablet  will  be  reflected  to  the  eye  of  the  artist 
through  the  inclined  glass  on  which  the  picture  rests, 
and  consequently  the  picture  will  be  illuminated  by 
transmitted  light. 

The  easel  may  stand  on  a  table  placed  against  a  win- 


SCIOPTICON  MANUAL. 


137 


dow  into  which  the  sun  does  not  directly  shine.  The  little 
screen  which  fits  the  easel  is  to  guard  the  eyes  of  the  artist 
from  extra  light  which  comes  from  above  the  easel. 

Although  the  pigments  in  our  list  are  so  few  in  num¬ 
ber,  yet  with  these,  by  proper  admixture,  all  the  colors 
can  be  made. 

T<?  mix  these  colors  for  painting  we  will  suppose  we 
take  from  one  of  the  tubes  a  quantity  of  color  of  the  size 
of  a  small  pea,  to  which  we  add  about  half  as  much  Canada 
balsam,  and  one  or  two  drops  of  siccatif.  The  use  of  the 
balsam  is  to  make- the  colors  transparent ;  the  siccatif 
is  simply  a  drier ,  and  of  this  last  we  should  always  use 
as  little  as  is  consistent  with  the  colors  drying  in  a  rea¬ 
sonable  time. 

If  a  picture  involving  a  variety  of  colors  is  to  be 
painted,  it  is  best  before  commencing  the  work  to  pre¬ 
pare  not  only  the  simple  colors  in  the  tubes,  but  also 
some  of  the  most  important  mixtures,  as  follows: 

Greens. — Prussian  blue  and  Italian  pink.  (To  make 
a  dull  green,  use  some  burnt  sienna  with  the  above.) 

Orange  and  Flesh-tints. — Italian  pink  and  crimson 
lake.  For  some  shades  add  burnt  sienna. 

Browns. — Italian  pink,  Prussian  blue,  crimson  lake, 
and  burnt  sienna. 

Any  shade  of  brown  or  neutral  tint  can  be  made  by 
the  use  of  these  pigments  in  various  proportions,  which 
can  only  be  learned  by  experiment. 

Having  prepared  the  colors  on  the  glass  slab  (mixing 
well  with  the  palette-knife),  and  the  drawing  being  all 
ready,  after  dusting  we  proceed  to  apply  the  first  color¬ 
ing. 

If  the  subject  is  a  landscape,  the  first  thing  to  paint 
is  the  sky.  A  little  color,  slightly  thinned  with  ol.  tur¬ 
pentine,  can  be  applied  with  two  or  three  strokes  of  a 
wide  brush.  It  does  not  answer  very  well  to  torture 


138 


SCIOPTICON  MANUAL. 


the  color  with  the  brush  after  it  is  once  applied,  so  we 
must  he  able  to  do  what  we  wish  with  a  very  few  bold 
strokes.  "We  don’t  mind  about  trees,  spires,  &c.,  we  can 
take  the  sky  tint  off  from  them  where  we  wish  to  do 
so  afterwards  (before  the  color  is  dry)  with  a  sable 
brush,  slightly  moistened  with  ol.  turpentine,  but  the 
brush  must  not  contain  enough  to  spread  at  all  o?  the 
surface,  otherwise  the  color  will  flow  away  from  the  line 
we  wish  to  establish,  and  form  a  ridge  on  the  sky. 

A  better  way  to  apply  sky  tints  is  to  stipple  or  daub 
the  surface  with  a  little  paint  on  the  end  of  the  finger. 
In  this  way  all  the  finest  skies  are  painted  by  the  best 
artists  who  make  pictures  for  the  magic  lantern,  but  the 
process  is  one  that  can  only  be  learned  by  many  trials 
and  much  practice. 

After  the  sky  is  painted  and  removed  from  places 
where  it  is  not  wanted,  distant  hills  next  receive  our 
attention,  successively  working  upon  objects  nearer  and 
nearer,  until  the  whole  picture  has  received  its  first 
painting.  Except  for  skies  the  colors  will  not  need 
thinning  with  ol.  turpentine. 

The  picture  should  now  be  put  out  of  the  way  of  dust 
and  sunshine,  and  where  ft  will  dry.  The  next  day  such 
parts  as  need  can  be  repainted,  and,  if  necessary,  any 
successive  number  of  coats  can  be  applied,  allowing  a 
day  between  each  for  the  paint  to  dry.  When  com¬ 
pleted,  it  only  remains  to  put  on  a  mat  and  cover  and 
fasten  the  edges  with  paper  strips.  Flour  paste  (too 
stiff  to  allow  moisture  to  be  drawn  up  between  the  plates) 
is  the  best. 

When  in  use,  that  is  when  changing  from  one  color 
to  another,  the  brushes  can  be  cleaned  with  ol.  turpen¬ 
tine.  But  when  the  brushes  are  to  be  put  away,  they 
should  be  washed  with  warm  water  and  soap,  rinsed 
with  clean  water,  and  then  brought  to  a  point  to  dry. 


SCIOPTICON  MANUAL. 


139 


The  preceding  article  on  drawing  and  painting  magic 
lantern  slides  has  been  contributed  by  an  expert  pre¬ 
eminently  qualified  to  assist  us  in  overcoming  its  ap¬ 
parently  insuperable  difficulties. 

It  may  be  proper  here  to  state  that  we  now  furnish  a 
varnish  to  take  the  place  of  No.  1  and  No.  2,  which 
answers  equally  well  with  but  once  flowing.  Like  No. 
2  it  must  be  dried  by  heat  to  prevent  what  is  called 
“  chilling/’  The  operation  can  be  best  performed  in  a 
dry  atmosphere  which  is  free  from  dust. 

A  Copying  Camera. — A  private  letter  from  Prof.  W. 
A.  Boles,  of  Shelbyville,  Ind.,  Superintendent  of  Schools, 
contains  further  valuable  information  in  this  direction, 
and  a  description  of  a  new  instrument  of  his  own  inven¬ 
tion.  By  permission  the  following  extracts  are  given 
in  the  interest  of  home  production. 

“  With  this  mail  I  send  you  a  specimen  of  my  drawing 
on  gelatine-coated  glass,  for  use  in  the  Sciopticon.  After 
the  coating  of  gelatine  is  perfectly  dry,  I  sand-paper  it 
with  the  finest  article  I  can  get,  and  after  the  picture 
is  drawn,  float  it  with  your  No.  1  varnish.  .  .  . 

“  I  made  an  upright  camera-obscura,  using  the  lens 
from  the  Sciopticon.  The  picture  to  be  copied  is  placed 
beneath,  in  the  sunlight  if  possible,  and  the  image  is 
thrown  upward  so  that  I  can  trace  the  outlines  quite  at 
my  ease.  On  the  roughened  gelatine  a  fine  steel  pen 
and  the  ordinary  black  ink  I  am  now  using  mark  beauti¬ 
fully,  and  the  shading  is  done  with  a  lead  pencil.  By 
tracing  the  image  of  the  picture,  in  the  little  darkened 
chamber,  I  avoid  the  trouble  from  the  slipping  of  the 
glass  and  the  different  angles  of  observation  consequent 
upon  superposition.  This  plan  has  also  the  additional 
advantage  of  enabling  me  to  reduce  or  enlarge  a  draw¬ 
ing  to  any  desirable  size. 


140 


SCIOPTICON  MANUAL. 


“  The  accompanying  rude  drawing  will  give  you  some 
idea  of  the  plan. 

“The  front  A  and  the  rest  B  are 
connected  by  two  iron  braces  and  slide 
up  and  down,  for  the  desired  focal 
distance,  above  the  lens  C.  The  ad¬ 
justable  shelf  JD  supports  the  object  to 
be  copied.  The  glass  plate  is  laid 
upon  the  rest  B  over  the  opening, 
and  a  black  cloth  thrown  over  the  top. 
The  instrument  is  six  feet  in  height, 
and  eighteen  inches  square,  and  cost 
me  about  two  days’  labor.  It  is  highly 
satisfactory.” 

It  will  be  understood  that  the  ob¬ 
ject  of  roughing  the  gelatine,  as  in¬ 
dicated  in  the  above  letter,  is  that  it 
may  present  an  opaque  surface  to 
render  the  image  visible,  like  the  focus¬ 
ing  ground-glass  in  a  photographer’s  camera;  this  rough¬ 
ing  also  gives  it  a  “  tooth  ”  to  hold  the  markings. 

Ground-glass  itself  is  sometimes  used  for  obtaining 
drawings  by  superposition,  which  is  rendered  transparent 
by  a  coat  of  varnish,  and  it  might  be  used  in  this  case;  it 
is,  however,  somewhat  expensive.  A  surface  is  now 
produced  on  glass  quite  similar  by  what  is  called  the 
ground-glass  varnish.  This  surface  after  receiving  the 
drawing  may  also  be  rendered  transparent  by  a  coat  of 
common  varnish,  if  dried  in  sufficient  heat  to  prevent 
its  again  becoming  opaque. 

Asphaltum  Varnish. — This  common  black  varnish, 
flowed  upon  quarter-plate  glass  and  allowed  to  dry, 
gives  a  surface  which  can  easily  be  drawn  upon  with  a 


SCIOPTICON  MANUAL. 


141 


sharp  instrument  so  as  to  show  upon  the  screen  in 
smooth  white  lines  upon  a  dark  ground.  The  varnish 
must  be  thinned  with  turpentine,  to  allow  of  tracing  by 
superposition. 

This  process,  obtained  by  purchase,  is  given  for  the 
benefit  of  teachers,  who  will  find  it  admirably  suited  for 
maps,  diagrams,  and  any  so-called  blackboard  exercises. 

Ordinary  Transfers  upon  Glass. — Coat,  by  prefer¬ 
ence,  quarter-plate  B.  P.  C.  glass  on  the  hollow  side 
with  transfer  varnish,  and  let  it  partially  dry.  Take  any 
cut  of  proper  size,  place  it  upon  water  right  side  up  un¬ 
til  it  becomes  wet  to  saturation,  adjust  it  to  the  varnished 
surface  face  down,  rub  up  the  paper  in  rolls  until  it  is 
mostly  removed,  and  then  lay  it  aside  until  the  varnish 
becomes  hard.  Much  of  the  remaining  paper  can  now 
be  removed  without  damaging  the  picture,  by  carefully 
wetting  and  rubbing. 

Grecian  varnish  will  render  the  picture  transpar¬ 
ent  ;  but  unfortunately  innumerable  pimples  make  their 
appearance,  which  show  badly  on  the  screen,  caused  by 
the  loosened  fibres  of  the  remaining  paper  film.  Several 
coats  of  varnish  will  finally  leave  a  smooth  surface,  but 
so  thick  a  coating  will  before  long  crack  and  eventually 
peel  off. 

This  process  is  here  referred  to  because  it  is  so  often 
inquired  about,  rather  than  because  it  is  thought  to  be 
of  much  value. 

Diaphanie. — A  picture  on  thin,  smooth  paper,  treated 
as  above,  but  without  rubbing  off  any  of  the  back 
surface  or  even  roughing  it  up,  will  make  a  tolerable 
lantern  slide,  with  one  coat  of  the  varnish.  It  will  ap¬ 
pear  dark  on  the  screen  like  a  silver  print  that  is  very 
much  “  fogged.”  If  the  picture  is  pasted  to  a  frame 


142 


SCIOPTICON  MANUAL. 


without  glass,  and  varnished,  it  appears  rather  better 
with  less  cost. 

Decalcomania,  or  Enamel  Slides. — Impressions  made 
on  starched  paper  and  fixed  to  glass,  as  above  described, 
will  adhere  to  the  varnish  when  the  paper  is  afterwards 
wet  and  pulled  off  entire.  After  soaking  off  the  starch, 
by  flowing  water  and  a  soft  brush,  the  picture  is  dried 
and  flowed  with  ordinary  slide  varnish.  These  so-called 
Enamel  Slides  are  inferior  to  silver  prints,  and  are  sold, 
both  plain  and  colored,  at  a  cheaper  rate. 

Should  the  paper  prints,  in  good  variety,  eventually 
be  sold  to  the  public,  full  directions  for  transferring  them 
would  doubtless  also  be  supplied.  On  this  supposition 
only,  would  this  truly  interesting  process  promise  to 
become  available  for  amateurs. 

Type  Printing  upon  glass,  except  in  a  poor  way  with 
elastic  type,  is  impracticable.  Hymns,  mottoes,  &c.,  may, 
however,  be  printed  to  advantage  upon  sheet  gelatine, 
in  the  small  amateur  printing-presses  now  so  much  in 
vogue.  Plain  collodion  films,  dried  upon  oiled  glass, 
upon  a  levelling  stand,  and  peeled  off,  will  take  impres¬ 
sions  perfectly.  These  films  may  be  mounted  between 
glass  plates,  in  the  form  of  a  crystal  slide. 

With  Quarter-Plate  Glass  prepared  as  described  to 
receive,  like  paper,  not  only  colors  but  pen  and  pencil 
drawings,  we  may  copy  engravings  for  the  lantern  by 
superposition,  or  in  a  camera  similar  to  the  one  illus¬ 
trated  by  Pig.  31,  may  show  up,  as  by  magic,  all  that 
class  of  illustrations  now  in  vogue  as  “  blackboard  ex¬ 
ercises  may  suit  original  designs  to  the  various  cir¬ 
cumstances  of  time  and  place;  may  transcribe  hymns, 
mottoes,  &c.,  appropriate  to  each  occasion;  and  so,  with 
small  expense  and  ordinary  skill,  the  Sciopticon  becomes 


CAPITOL  AT  WASHINGTON 


SCIOPTICON  MANUAL, 


143 


readily  available,  without  the  purchase  of  a  large  assort¬ 
ment  of  slides. 


Fig.  32. 


The  cut  (Fig.  32)  shows  the  exact  size  and  shape  of 
the  transparency,  mat,  glass,  and  the  binding  of  the 
Woodbury  (photo-relief)  magic  lantern  slide,  of  tjje 
colored  crystal  slide,  and  of  such  as  are  made  according 
to  the  directions  given  in  this  chapter. 

Pen  and  pencil  drawings  would  require  only  Nos.  7, 
8,  9,  10,  19,  20,  and  21,  of  the  materials  enumerated  on 
page  138;  or,  simpler  still,  the  glass  may  be  obtained, 
ready  prepared,  for  75  cents  a  dozen,  the  drawings  made 
with  any  quite  black  ink  and  a  fine  pen,  and  shown 
without  glass  cover,  mat,  or  binding. 


144 


SCIOPTICON  MANUAL. 


CHAPTER  XI. 

NOVELTIES. 

The  Chimney  Cap  of  the  Sciopticon  now  telescopes 
into  its  base,  so  as  to  give  added  length  and  greater 
draft  when  drawn  up.  It  should  not  be  elongated,  how¬ 
ever,  when  the  instrument  is  first  lighted— especially  if 
the  wicks  are  not  well  saturated  with  oil — but  when 
well  under  way,  the  added  length,  with  a  correspond¬ 
ing  turning  up  of  the  wicks,  gives  greater  brightness, 
and  more  effectually  draws  off  the  heat. 

The  Sciopticon  Curtain. — Turning  the  milled  head 
at  either  side,  gives  the  appearance  upon  the  screen  of 
a  curtain  rising,  or  falling,  thus  handsomely  opening 
or  closing  an  exhibition.  It  may  also  be  temporarily 
closed  at  any  time,  to  allow  the  attention  to  be  directed 
to  other  exercises. 

The  process  of  changing  the  pictures  may  be  hidden 
from  view  by  shutting  off  the  light  with  the  left  hand; 
then  pushing  the  out-going  picture  into  the  left  hand 
by  sliding  another  into  its  place  with  the  right;*  and 
then  flashing  on  the  light  with  the  right  hand ;  all  of 
which  may  be  sooner  done  than  said.  In  any  change  of 
programme  theawkwardnessofshowingthe  “full  moon,” 
or  the  disk  without  a  picture,  may  always  be  avoided  by 
using  the  opaque  curtain. 

This  curtain  also  serves  as  a  back  cap  for  the  object¬ 
ive,  protecting  the  back  lens  from  dust  and  light  when 
not  in  use,  as  the  front  cap  protects  the  front  lens. 


SCIOPTICON  MANUAL. 


145 


The  Sciopticon  Tinters. — The  tinting-glasses  are 
drawn  up  close  behind  the  objective  lens  by  means  of 
rods  terminating  in  knobs  above.  This  lets  the  color 
down  upon  the  screen — not  with  a  sharp  outline  like 
the  curtain,  but  with  a  gradual  shading.  With  the  blue 
tint  partially  drawn,  this  property  gives  to  plain  pho¬ 
tographs  of  scenery,  a  blue  sky,  shading  off  without 
abruptness  down  to  the  horizon.  Slightly  drawing  up 
the  blue,  then  the  red,  and  then  turning  the  button 
attached  to  the  opaque  curtain  a  little,  fades  away 
gradually  the  upper  portion  of  the  disk,  as  is  desirable 
in  such  slides  as  the  Ascension.  The  reverse  movements 
bring  into  view  gradually  the  “  Soldier’s  Dream,”  “An¬ 
gel  of  Peace,”  &c.,  nearly  as  well  as  with  two  slides  in 
the  dissolving  lanterns.  All  the  appearances  formerly 
produced  by  colored  glass  slides  are  better  effected  by 
these  tinters.  If  at  any  time  the  rods  become  too  loose, 
the  stop  screws  may  be  tightened. 

The  New  Slide  Stop. — The  catch  drawn  out  from  the 
underside  of  the  stage,  and  turned  back  almost  out  of 
the  way,  is  intended  to  stop  the  slide  in  its  proper  posi¬ 
tion,  but  not  to  interfere  with  its  being  moved  smoothly 
along  and  out  by  the  incoming  slide  when  slipped  for¬ 
ward  from  the  catch  by  the  left  hand. 

The  catch  pushed  back  into  its  sheath,  leaves  the 
stage  entirely  unobstructed  for  those  who  prefer  to  ad¬ 
just  the  slides  by  hand  only,  and  for  other  than  wooden 
slides. 

The  use  of  stops  is  the  more  necessary  with  a  paii  of 
instruments,  as  it  is  essential  to  a  proper  effect  that  the 
dissolving  views  should  occupy  exactly  the  same  place 
on  the  screen  without  any  readjustment  after  the  dis¬ 
solving  becomes  visible. 


146 


SCIOPTICON  MANUAL. 


Large  Slides — A  New  Departure. — To  improve  the 
size  and  brilliancy  of  a  Sciopticon  exhibition,  tbe  expe¬ 
dient,  next  to  perfecting  the  instrument  itself,  is  to  bring 
into  use  larger  and  clearer  views. 

A  magic  lantern  picture  of  the  standard  size  is  3  in¬ 
ches  in  diameter,  mounted  in  a  frame  7  inches  long  by 
4  inches  wide.  The  new  picture  is  34  inches  in  the  clear, 
in  a  frame  7  inches  by  44  inches. 

The  new  picture  having  a  third  more  surface,  the 
illuminated  disk  shows  larger  in  proportion  and  to  very 
much  better  advantage.  No  one  seeing  an  exhibition 
of  the  new  slides,  would  willingly  select  from  the  old. 

No  inconvenience  arises  from  using  both  kinds  in  the 
same  exhibition.  The  larger  frame,  reaching  a  little 
higher  than  where  the  spring  meets  the  condenser, 
slides  more  smoothly  into  place. 

Great  pains  has  been  taken  to  get  the  best  subjects 
with  which  to  inaugurate  this  new  departure,  and  to  have 
them  worked  up  in  the  most  artistic  style. 

Marcy’s  Eidotrope. — Two  disks  of  perforated  tin  are 
mounted  so  that  one  extends  beyond  the  frame  to  the 
right,  and  the  other  to  the  left ;  and  so,  not  having  a 
common  centre,  an  eccentric  revolution  is  given  to  each, 
little  by  little,  when  moved  by  the  fingers  at  either  side 
of  the  lantern,  producing  upon  the  screen  a  great  variety 
of  strikingly  beautiful  patterns,  which  may  be  pleasingly 
modified  by  a  varying  use  of  the  tinters.  Its  simplicity, 
however,  may  be  against  it,  for  effects  are  quite  apt  to  be 
valued  in  proportion  to  their  cost  and  trouble. 

Wheel  of  Life. — In  the  English  Wheel  of  Life,  in  its 
best  form,  the  opaque  disk  with  the  open  section,  as 
seen  in  Fig.  33,  is  revolved  rapidly,  while  the  transpar- 


SCIOPTICON  MANUAL. 


147 


ent  disk,  covered  with  figures  in  varied  positions,  is 
revolved  with  less  rapidity  in  the  opposite  direction. 

Our  improvement  consists  in 
having  the  distance  of  the  crank 
wheel  adjustable,  and  in  having 
only  one  band  doubled  back  to 
run  both  wheels,  so  that  the  ten¬ 
sion  of  the  band  can  he  regulated, 
while  both  effect  wheels  are  sub¬ 
ject  to  a  band  of  like  tension. 

Four  adjustable  disks  of  figures, 
viz. :  the  Fishers,  the  Skaters,  the 
Giant's  Ladder,  and  the  Bottle  Imp,  are  now  included 
in  this  new  apparatus;  each,  when  used,  being  held  in 
place  by  a  wire  ring  sprung  into  a  surrounding  groove. 

* 

The  Dancing  Skeleton. — This  effect  is  produced  by 
having,  say  six  transparencies  of  a  skeleton,  in  as  many 
different  postures,  set  in  a  large  disk, 
as  shown  in  Fig.  34.  Giving  this  wheel 
i  of  a  revolution  at  a  time,  brings  the 
figures  one  by  one  into  position  to  be 
projected  upon  the  screen,  while  a  re¬ 
volving  opaque  disk  hides  the  passing 
off  of  one,  and  the  coming  on  of  another, 
making  it  appear  as  if  the  same  figure 
were  keeping  time  to  the  accompanying  music,  by  strik¬ 
ing  grotesque  attitudes. 

The  thousands  who  witnessed  this  striking  feature  of 
Prof.  Pepper's  late  American  lecture  tour,  seemed  fully 
to  enjoy  the  worth  of  their  money. 

It  is  but  fair,  however,  to  observe  that  the  machine  is 
complicated  and  cumbersome,  and  that  it  doubtless  fas¬ 
cinates  more  for  its  novelty  than  for  its  intrinsic  value 


148 


SCIOPTICON  MANUAL. 


Having  the  only  dancing  skeleton  in  America,  and 
that  well  enveloped  in  mystery,  is  quite  different  from 
having  the  apparatus  explained  in  print,  and  offered  for 
sale  at  $30. 

The  Dance  of  the  Witches. — Paper  witches  are  put 
into  the  cell  (Pig.  35)  and  the  picture 
of  a  cauldron  is  drawn  upon  its  outer 
face.  This  cell  is  filled  with  water, 
which,  with  the  floating  witches,  is 
made  to  circulate  about  the  pot  by 
means  of  pipettes  with  rubber  bulbs, 
reminding  us  of  the  scene  in  Mac¬ 
beth  : — 


Fig.  35. 


“  Koundabout  the  cauldron  go  ; 

In  the  poisoned  entrails  throw,— 
Double,  double,  toil  and  trouble, 


The  Beehive. — Upon  the  fixed  glass,  a  beehive  and 
shrubbery  are  artistically  drawn  and  colored.  Two  disks 
of  glass  covered  thickly  with  figures  of  bees  on  the  wing 
are  revolved  in  opposite  directions,  presenting  upon  the 
screen  a  very  lively  appearance. 


The  Aquarium. — Upon  the  fixed  glass,  an  aquarium 
with  dark  background  is  drawn,  while  fish  are  made  to 
appear  as  swimming  back  and  forth,  passing  and  repas¬ 
sing  eaeh  other,  by  revolving  in  opposite  directions,  the 
disks  upon  which  they  are  painted. 

The  Fountain. — The  appearance  of  a  fountain  in  full 
play  is  produced  by  revolving  over  the  face  of  the  pic¬ 
ture  disks  of  glass  covered  with  crinkles. 

The  Hock  of  Ages. — A  dark  and  stormy  sky,  and  the 
waves  dashing  against  a  stone  cross  (the  Hock  of  Ages), 


SCIOPTICON  MANUAL. 


149 


are  here  represented.  A  wreck  is  seen  in  the  distance. 
The  wreck  disappears,  and  the  figure  of  a  woman  appears 
clinging  to  the  cross. 

The  following  four  pairs  of  effect  slides  for  the  double 
lantern,  with  sliding  movements  (price  $6  a  pair),  are 
quite  popular  at  present,  but  they  are  difficult  to  operate 
satisfactorily. 

The  Naiad  Queen. — Yiew  of  a  lake  by  moonlight. 
The  moon  glistens  on  the  water ;  a  castle  is  seen  in  the 
distance.  The  Naiad  Queen  appears  sailing  across  the 
lake  in  a  pearl  shell  boat  and  playing  on  a  harp.  (Music 
can  be  used  very  effectively  with  this  view.)  Two  slides, 
with  movement. 

Train  oe  Cars. — A  railroad  bridge  in  a  dark  forest  is 
seen  by  moonlight.  A  train  of  cars  dashes  by,  the  head¬ 
light,  and  sparks  flying  from  the  engine,  making  a  very 
brilliant  appearance.  Two  slides,  with  movement. 

Ocean  Steamer. — A  view  of  a  harbor  is  represented, 
with  a  city  in  the  distance,  from  which  an  ocean  steam¬ 
ship,  bound  for  Europe,  sails  away.  Two  slides,  with 
movement. 

The  Serenade. — A  beautiful  view  by  moonlight  of  a 
lake,  on  the  borders  of  which  is  seen  a  castle  brilliantly 
illuminated.  The  serenader  appears  sailing  in  a  gondola 
and  playing  a  guitar.  A  lady  steps  out  upon  the  balcony 
of  the  castle  and  listens  to  the  serenade.  (Music  can  be 
used  in  connection  with  this  effect.)  Two  slides,  with 
movement. 

Each  of  the  following  effects  is  shown  either  with  one 
slide  in  a  single  lantern,  by  means  of  tinters  and  curtains, 
or  with  two  slides  in  a  pair  of  dissolving  lanterns. 


150 


SCIOPTICON  MANUAL. 


Washington's  Dream. — Washington,  tired  by  the 
duties  of  the  day,  in  his  room  seated  by  the  table,  has 
fallen  asleep.  The  camp  is  seen  through  the  open  door. 
The  vision  of  Columbia,  attended  by  Justice  and  Plenty, 
appears  in  the  sky. 

»  The  Soldier’s  Dream. — This  is  best  told  in  Campbell’s 

Poem,  beginning : 

“  Our  bugles  sang  truce,  for  the  night  cloud  had  lowered, 
And  the  sentinel  stars  set  their  watch  in  the  sky ; 

And  thousands  had  sunk  on  the  ground  overpowered, 

The  weary  to  sleep  and  the  wounded  to  die. 

When  reposing  that  night  on  my  pallet  of  straw, 

By  the  wolf-scaring  faggot  that  guarded  the  slain, 

At  the  dead  of  the  night  a  sweet  vision  I  saw, 

And  thrice  ere  the  morning  I  dreamt  it  again.” 

Mercy’s  Dream. — Mercy  is  represented  in  a  reclining 
position  beneath  a  spreading  tree.  An  angel  from 
Heaven  appears  and  places  a  crown  of  glory  on  her 
head. 

Angel  op  Peace. — A  beautiful  landscape  showing  a 
city  at  night,  with  the  new  moon  in  the  sky  reflected 
in  the  water.  The  figure  of  an  angel  bearing  a  child 
appears  like  a  vision  in  the  sky,  and  then  fades  away. 

The  Fairy  Grotto. — A  view  looking  out  from  a  grotto 
into  a  lake,  upon  the  surface  of  which  are  interspersed 
rocks  and  trees  in  a  picturesque  manner.  A  fairy  with 
wand  is  seen  in  the  foreground.  The  moon  appears 
from  behind  the  clouds  and  its  reflection  is  seen  on  the 
rippling  waters. 

The  Wizard’s  Glen. — The  wizard  and  his  attendant 
fairy  are  seen  in  the  foreground  of  a  picturesque  glen  in 
the  mountains.  The  moon  glistens  on  the  crest  of  a  cas¬ 
cade,  which  falls  from  the  summit  of  the  rocks. 


SCIOPTICON  MANUAL. 


151 


CHAPTER  XII. 

<fi mt  gCitjtot  * 

IXTRODUCTIOIf. 

The  Lime  Light  in  an  improved  form  having  been 
introduced  into  the  Sciopticon,  it  becomes  expedient  to 
append  to  the  Sciopticon  Manual  a  description  of  the 
apparatus  and  directions  for  its  use. 

FLAME  ILLUMINATION. 

We  have  in  the  Sciopticon  oil  lamp  arrangement  the 
largest  amount  of  ordinary  flame  illumination  that  can, 
to  advantage,  be  brought  to  bear  upon  the  screen  through 
the  objective  lens,  and  as  bright  as  air  with  its  twenty 
per  cent,  of  oxygen  will  make  it. 

Brightening  the  two  flames  by  an  inner  supply  of 
oxygen  gas,  after  the  manner  of  the  Bude  light,  heats 
the  wick  tubes  to  an  unsafe  degree,  and  consumes  too 
much  oxygen  as  compared  with  the  efficiency  of  the 
illumination. 

Some  solid  matter,  of  which  quick-lime  seems  to  be 
the  best  and  cheapest  for  the  purpose,  is  more  luminous 
in  an  intense  heat,  than  simply  the  particles  of  burn¬ 
ing  carbon  floating  olf  in  flame. 

VARIETIES  IN  LIME  LIGHT. 

Every  lime  light  alike  has  lime  and  a  jet  of  oxygen 
gas;  but  a  variety  arises  from  the  different  conditions 
of  the  hydrogen  employed.  With  alcohol  vapor,  it  is 
commonly  called  the  oxy-calcium ;  with  house  gas  led 


152 


SCIOPTICON  MANUAL. 


directly  from  the  bracket,  it  is  sometimes  called  oxy- 
hydro-calcium.  To  produce  the  light  more  generally 
known  as  the  oxy-hydrogen,  both  gases  are  forced  upon 
the  lime  from  reservoirs  under  equal  pressure,  and 
through  a  common  jet. 

In  absence  of  well  established  and  distinctive  terms, 
we  seem  obliged  to  fall  back  upon  the  only  elementary 
distinctions,  as  alcohol,  house  gas,  and  mixed  jet;  or 
simply  Hos.  1,  2,  and  3. 

THE  ALCOHOL  BURNER. 

The  lime  light  produced  by  a  jet  of  oxygen  gas  through 
an  alcohol  flame,  as  now  used  with  improved  effect  in 
the  Sciopticon,  is  suited,  next  to  the  Sciopticon  oil  lamp, 
to  the  widest  range  of  circumstances. 


Fig.  36. 


The  alcohol  fountain  at  the  side  of  the  Sciopticon  is 
shown  in  the  above  cut  as  drawn  back,  so  as  to  be  partly 
seen.  It  is  connected  with  the  triple  blow-pipe  at  the 


SCIOPTICON  MANUAL. 


153 


hydrogen  stop-cock  by  a  piece  of  rubber  tubing,  H. 
The  tubing,  in  connection  with  the  oxygen  stop-cock, 
extends  downward  towards  its  connection  with  the  oxy¬ 
gen  bag,  or  cylinder,  which  is  not  here  shown. 

The  alcohol  passes  through  a  side  aperture,  A,  up  the 
nozzle  n  (Fig.  37),  to  its  level  in  the  cylindrical  wick- 
tube  a,  filling  it  about  two-thirds  full,  and  saturating 
the  wick  w,  which  loosely  fills  the  space 
between  the  concentric  tubes. 

If  on  lighting  the  wick  (which  is 
done  by  reaching  it  in  the  lantern  with 
a  lighted  match)  it  burns  feebly,  for  want 
of  being  fully  saturated,  we  may  give 
the  flexible  alcohol  tubing,  H  (Fig.  36), 
a  sliding  pressure  towards  the  jet,  being  ° 
careful  not  to  overflow  the  wick  tube. 

The  alcohol  should  be  of  the  best 
quality,  and  high  enough  in  the  foun¬ 
tain  to  feed  a  vigorous  flame. 

The  atmosphere,  while  supplying 
oxygen  to  the  outside  of  the  flame, 
compresses  the  inner  hydrogen  vapor 
into  combination  with  the  jet  of  oxygen 
as  it  strikes  upon  the  lime  above. 

When  the  exhibition  is  over,  we  may 
let  the  fountain  hang  down  by  its  tubing  till  the  alcohol 
drains  back  into  it,  before  closing  the  stop-cock. 


No.  1 ,  Fig.  37. 


THE  HOUSE  GAS  BURNER. 

In  towns  and  wherever  illuminating  gas  is  in  supply, 
it  may  be  led  by  flexible  tubing  from  the  bracket  to 
the  blow-pipe,  and  so  through  the  same  side  aperture,  A, 
in  the  nozzle  into  the  conical  tube  g  (Fig.  38),  burning 
above  the  oxygen  jet  o  like  the  alcohol  flame  in  Ho.  1. 

11 


154 


SCIOPTICON  MANUAL. 


While  the  amount  of  the  alcohol  flame  depends  on  the 
height  of  the  fountain,  this  flame  is  easily  regulated  by 
the  hydrogen  key  to  the  exact  amount 
required  by  the  oxygen. 

The  oxygen,  shooting  up  like  the 
middle  arrow  from  the  flat-mouthed  jet, 
o  (see  its  shape,  front  view,  Fig.  39), 
combines  with  the  hydrogen  instanta¬ 
neously  as  it  strikes  the  lime,  with  little 
tendency  to  cool  and  blacken  a  central 
spot. 

THE  DRUMMOND  EIGHT. 

Lime  rendered  incandescent  by  the 
ignited  jet  of  an  oxy-hydrogen  blow¬ 
pipe,  invented  by  Dr.  Hare,  of  Phila¬ 
delphia,  and  used  with  marked  success 
in  the  British  Signal  Service,  by  Lieut- 
Drummond,  has  been  called  the  Drum¬ 
mond  Light. 

This  term  applies  distinctively  when 
a  collected  supply  of  hydrogen  gas,  as  well  as  of  oxygen, 
is  required,  and  when  both  are  alike  under  heavy  pres¬ 
sure  and  forced  through  the  tubes  of  the  blow-pipe. 

Oxygen  and  hydrogen,  mixed  in  a  common  reservoir, 
cannot  be  safely  used  in  connection  with  an  ignited  jet. 

The  separate  gases,  however,  may  be  forced  upon 
the  lime  through  entirely  separate  jets,  in  accordance 
with  the  primitive  arrangement;  or,  which  amounts  to 
about  the  same  in  effect,  the  two  currents  may  terminate 
in  tubes  one  within  the  other,  called  the  concentric  jet, 
mingling  as  before  only  when  projected  upon  the  lime; 
or,  which  is  counted  the  most  effective  and  is  now  in 
general  use,  the  oxygen  and  hydrogen  may  be  mixed  in 


No.  3,  Fig.  38. 


SCIOPTICON  MANUAL 


155 


a  small  chamber,  as  at  c  (Fig.  39),  at  the  foot  of  a  single 
jet  through  which  the  mingled  gas  is  projected  upon 
the  lime. 

THE  MIXED  JET. 

The  mixed  jet  is  the  only  one  of  the  Drummond 
variety  superior  in  effect  to  Nos.  1  and  2,  and  this  we 
adopt  as  the  No.  3  of  the  triple  blow¬ 
pipe. 

The  mixed  jet  tube,  m  (Fig.  39),  takes 
the  place  of  both  the  tubes  of  No.  2, 
covering  both  apertures  at  the  junc¬ 
tion,;. 

The  oxygen  gas  forced  up  through 
the  central  aperture  o',  in  the  nozzle, 
instead  of  being  taken  direct  to  the 
lime  by  the  jet  tube,  as  in  Nos.  1  and  2, 
is  allowed  first  to  mingle  with  the  hydro¬ 
gen  forced  in  with  equal  pressure  at 
the  side  aperture. 

The  relative  quantity  of  each  gas  is 
regulated  by  the  stop-cocks  till  the  best 
effect  is  produced,  which,  in  theory,  is 
when  there  are  two  volumes  of  pure 
hydrogen  to  one  of  oxygen,  or  about 
equal  volumes  if  coal  gas  is  used. 

DANGERS  PECUEIAR  TO  No.  3. 

Serious  accidents  in  operating  the  mixed  jet  are  mostly 
occasioned  by  carelessly  collecting  or  transferring  one 
kind  of  gas  into  a  bag  partly  filled  with  another  kind, 
and  then  attempting  to  use  it  in  connection  with  an 
ignited  jet.  It  is  common  to  distinguish  the  bags  by 
the  letters  H  and  0,  and  it  is  further  recommended  to 


156 


SCIOPTICON  MANUAL. 


use  a  characteristic  stop-cock  on  each,  so  that  there  can 
be  no  mistaking  them,  even  in  the  dark. 

By  very  unequal  pressure,  gas  from  one  hag  may  be 
forced  through  the  cavity,  at  the  foot  of  a  clogged  jet, 
into  the  other  bag,  from  which  it  meets  no  counter 
current.  To  get  up  an  explosion  in  this  way  would  re¬ 
quire  patience,  and  either  a  surprising  degree  of  care¬ 
lessness,  or  else  considerable  skill  directed  to  this  end. 

It  should  become  habitual  to  turn  off  the  oxygen  at 
least,  when  the  light  goes  out,  and  to  turn  it  on  only 
after  the  hydrogen  is  lighted. 

Stuffing  the  cavity  of  a  mixed  jet  with  wire  gauze  is 
now  discarded  as  not  only  useless  but  as  often  interfer¬ 
ing  with  its  successful  working. 

Passing  the  gas  through  a  small  wash  bottle  is  de¬ 
signed  to  prevent  the  back  flow  of  gas  or  flame.  The 
same  advantage  is  claimed  for  a  valve  in  the  tubing,  open 
towards  the  jet  but  closing  against  any  back  current. 

The  best  expedient,  however,  is  to  use  good  appa¬ 
ratus,  and  to  exercise  common  care.  • 

ANNOYANCES  PECULIAR  TO  THE  MIXED  JET. 

The  hydrogen  flame  is  somewhat  liable  to  be  blown 
out  by  too  abruptly  turning  on  the  oxygen.  In  this 
ease  we  have  but  to  turn  off  the  gas  and  proceed  again 
with  more  care. 

The  mixed  gas  in  the  cavity  c  sometimes  explodes  and 
the  ignition  may  continue  within  the  cavity.  Whether 
the  flame  is  extinguished  by  the  explosion  or  not,  the 
oxygen  should  be  at  once  shut  off;  the  jet,  if  hot,  should 
be  cooled,  by  waiting  or  by  wetting  it,  and  the  adjust¬ 
ments  should  be  revised  and  regulated.  This  accident 
may  result  from  irregular  pressure,  from  turning  on  the 
oxygen  before  lighting,  or  from  neglecting  to  turn  it  off 
before  re-adjusting  the  pressure  boards. 


SCIOPTICON  MANUAL. 


157 


None  of  the  accidents  or  annoyances  above  enumer¬ 
ated  have  ever  happened  with  the  jet  herein  described. 
Its  characteristic  flat  mouth,  small  cavity,  and  ready 
adjustments  are  in  its  favor,  but  may  not  be  relied  on 
in  spite  of  bad  conditions.  It  will  be  observed  that 
this  possibility  of  evil  in  the  mixed  jet,  as  distinguished 
from  Nos.  1  and  2,  arises  from  the  necessity  of  having 
two  gases  in  bulk,  and  from  mixing  them  before  coming 
to  the  outlet. 


No.  1.  No.  2.  No.  3. 


The  Three  Jets  presented  above,  side  by  side,  show 
what  is  peculiar  to  each.  The  oxygen  tube  of  each  is 
screwed  down  upon  its  lead  washer,  so  as  to  present  its 
flat  mouth  to  the  lime,  as  shown  in  No.  3. 

When  a  very  strong  current  meets  with  roughness  at 
the  mouth  of  a  jet,  or  strikes  some  impediment,  or  an 


158 


SCIOPTICON  MANUAL. 


unsound  place  in  the  lime,  it  sometimes  produces  a  his¬ 
sing  sound.  Moving  the  lime  or  varying  the  pressure 
will,  in  most  cases,  abate  the  annoyance. 

MARCT’S  TRIPLE  JET. 


In  this  apparatus,  the  three  burners  already  described 
are  interchangeable. 


Fig.  40. 


Fig.  40  represents  the  house  gas-burner  in  position, 
while  Nos.  1  and  3  are  in  the  cells  d  and  e,  to  be  shut  in 
by  the  cover/.  The  broach  in  the  cell  v  is  in  proper 


SCIOPTICON  MANUAL. 


159 


shape  for  entering  and  .  clearing  the  flat  mouth  of  the 
jet.  The  wooden  base  plate,  B,  the  bottom  of  which  is 
shown  at  Fig.  41,  holds  the  nozzle  n,  which  receives  into 
its  middle  aperture  the  current  of  oxygen  gas  from  O, 
and  into  its  side  aperture  either  alcohol  or  hydrogen 
gas  from  H.  The  lime,  Lt  in  its  holder,  P,  is  let  down 
the  open  chimney  of  the  Sciopticon  and  held  in  place  by 
the  socket  &,  the  elongated  top  of  which  serves  as  a 
guide  to  the  stem,  a  rest  for  the  lime  cradle  uy  and  a 
shield  from  the  alcohol  wick.  The  base-plate  of  the 
socket  is  pushed  under  the  screw-heads,  into  contact  with 
the  nozzle  n,  and  its  angle  and  its  height  are  such  as  to 
bring  the  lime  disk  into  proper  position.  The  lime  disk 
is  |  of  an  inch  thick,  and  2  inches  in  diameter.  It  lies 


Fig .  41. 


loosely  in  its  cradle,  it,  so  that  lifting  the  back  with  the 
thumb  and  finger  half  an  inch  or  so,  brings  down  to  the 
jet  a  new  but  hot  place  in  the  lime.  This  operation  is 
not  hard  on  the  fingers,  because  the  move  is  so  easily 
and  quickly  made,  and  at  a  place  in  the  non-conducting 
lime  most  distant  from  the  jet. 

THE  SCIOPTICON  WITH  THE  TRIPLE  JET. 

If  the  Sciopticon  is  required  only  for  the  lime  light 
it  is  furnished  without  the  oil  lamp  and  flame-chamber. 


160 


SCIOPTICON  MANUAL. 


With  the  Sciopticon  complete,  as  illustrated  and  de¬ 
scribed  at  page  80,  we  remove  the  back  flame-chamber 
glass,  G',  the  narrow  strip  _F,  the  chimney  cap  J,  and  the 
oil  lamp  S.  With  the  lime  light  the  front  glass  G  is 
only  useful  to  protect  the  condenser;  if  retained,  it  should 
be  glass  without  the  cut  as  commonly  used,  or  else  clear 
mica.  With  a  concentrated  light  every  blemish  shows 
upon  the  screen. 


Fig.  42. 


Removing  the  lime-holder  from  its  socket  we  insert 
the  blow-pipe  by  dipping  the  jet  under  and  into  the 
flame-chamber,  and  letting  the  lime  with  its  holder  down 
the  open  chimney  into  its  place  again,  as  shown  in  sec¬ 
tion  (Fig.  42). 

Oxygen  gas  in  a  bag  between  pressure  boards  weighted 
by  from  fifty  to  one  hundred  and  fifty  pounds,  or  else 
compressed  in  a  condensing  cylinder,  is  put  in  connection 
with  the  oxygen  jet  at  the  stop-cock  0,  known  by  its 
lever-shaped  key.  The  oxygen  should  be  habitually  the 
last  to  be  let  on,  and  the  first  to  be  shut  off.  The  mouth 


SCIOPTICON  MANUAL. 


161 


of  the  jet  should  be  kept  clear  by  the  broach  v,  and  the 
tubing  should  be  kept  free  from  kinks. 

For  the  alcohol-burner  the  wick  tube,  loosely  filled 
with  wicking,  is  put  in  connection  with  the  alcohol 
fountain  held  to  the  ledge  outside  by  a  spring. 

For  the  gas-burner  the  conical  tube  is  substituted  for 
the  wick  tube  and  connection  is  made  with  the  house 
gas  fixtures  by  sufficient  length  of  flexible  tubing. 

For  the  mixed  jet  connection  is  made  with  hydrogen, 
in  bag  or  cylinder,  subject  to  the  same  amount  of  pres¬ 
sure  as  the  oxygen.  House  gas  collected  from  the  burner 
is  mostly  used,  when  obtainable,  to  save  the  trouble  and 
expense  of  generating  pure  hydrogen. 

After  lighting  the  hydrogen  (vapor  or  gas),  and  allow¬ 
ing  it  time  to  heat  and  dry  the  lime,  the  oxygen  is 
turned  on  gradually  in  such  force  as  to  produce  the  best 
effect. 

The  beginner  may  remove  the  condenser  to  see  the 
light  in  front,  but  it  is  more  convenient  and  easier  for 
the  eyes  to  observe  it  from  behind  by  its  reflection  in 
the  front  glass.  The  light  is  shown  in  the  diagram  in 
about  its  right  place ;  moving  it  in  and  out,  and  varying 
its  height  by  the  thumb  screw  s ,  will  readily  settle  its 
right  position. 

The  ordinary  objective  twenty  feet  away,  throws  a 
disk  of  about  ten  feet  in  diameter;  or  in  general,  its 
disk  is  about  half  the  measure  of  its  distance.  To  pro¬ 
ject  a  picture  to  a  great  distance  without  too  much 
enlargement,  the  objective  must  be  of  low  power  and 
the  extension  front  must  be  considerably  drawn  forward. 
The  ordinary  objective  with  the  back  lens  removed  will 
answer,  but  there  is  a  noticeable  want  of  sharpness 
about  the  margin  of  the  projection.  A  combination  of 
low  power,  made  expressly  for  the  purpose,  is  better. 


162 


SCIOPTICON  MANUAL. 


It  is  a  mistake  to  suppose  that  pictures  intended  for 
the  Sciopticon  should  be  selected  with  special  reference 
to  the  light  used.  The  proper  density  for  the  Sciopti¬ 
con  flame  illumination  differs  little  if  any  from  what  is 
best  for  the  lime  light  proportionally  enlarged.  The 
class  of  customers  most  anxious  to  secure  clear,  bright 
pictures  are  professional  exhibitors  with  a  lime  light. 
Dense  pictures  fogged  in  the  high  lights  cannot  be  shown 
to  advantage  by  any  means  of  illumination. 

PECULIAR  ADVANTAGES  OF  THE  TRIPLE  BLOW-PIPE. 

It  is  mounted  in  wood,  which  holds  the  parts  firmly, 
and  in  convenient  position,  and  is  a  non-conductor  of 
heat. 

The  jet  strikes  the  periphery  of  the  lime  disk,  which 
presents  larger  surface  than  its  side,  with  less  obstruc¬ 
tion  to  escaping  heat;  strikes  it  above,  so  as  not  to 
shade  the  condenser;  strikes  the  lower-half,  so  the  upper 
part  shades  the  light,  instead  of  a  chimney  cap ;  strikes 
it  obliquely,  so  as  not  to  be  reflected  back  upon  the 
apparatus. 

The  flat  mouth  of  the  jet  secures  to  a  fuller  flow  of 
gas  the  proportional  efficiency  of  a  smaller  opening, 
and  moreover  favors  the  mingling  of  the  gases  outside 
as  effectually  as  it  is  done  in  the  mixed  jet,  or  nearly  so. 

The  elongated  and  curved  top  of  the  lime-holder 
socket  serves  as  a  rest  for  the  lime  cradle,  as  a  guide  to 
its  stem,  and  as  a  shield  from  the  alcohol  wick. 

The  lime  lies  loosely  in  its  cradle,  easy  to  turn,  resting 
securely  even  if  broken,  and  is  held  to  the  jet  without 
variableness. 

The  height  of  the  alcohol  in  the  wick-tube  is  little  af¬ 
fected  by  tilting  the  lantern,  because  the  fountain  rests 
abreast  of  it.  The  fountain-cup  may  rest  at  either  side 
of  the  lantern. 


SCIOPTICON  MANUAL. 


163 


The  three  burners  are  interchangeable  with  each 
other,  and  the  triple  blow-pipe  itself  is  interchangeable 
with  the  oil  lamp;  so  the  Sciopticon  is  furnished  for  all 
places  and  occasions. 

THE  DISSOLVING  COCK. 

The  oil  lamps  in  a  pair  of  dissolving  lanterns  are  kept 
steadily  burning,  while  the  light  of  each  is  cut  off  from 
the  screen  alternately  by  the  crescent-shaped  dissolver, 
as  shown  Fig.  16,  p.  40. 

With  the  blow-pipe  the  lights  themselves  are  made 
bright  alternately.  The  expense  of  keeping  two  under 
full  head,  when  only  one  shines  upon  the  screen  at  a 
time  becomes  worth  considering;  besides  the  external 
cut-off  does  not  produce  so  soft  and  pleasing  an  effect 
with  a  concentrated  light. 

With  alcohol  burners  the  oxygen  is  switched  off,  so  to 
speak,  from  one  to  the  other  alternately;  the  deserted 
lime  becoming  dim  at  the  same  rate  its  alternate  becomes 
incandescent.  The  dissolving  cock,  held  to  the  stand  by 
screw-heads,  has  a  nipple  to  connect  with  the  oxygen 
reservoir,  and  one  for  each  blow-pipe. 

With  the  mixed  jet,  the  flame,  when  deserted  by  oxy¬ 
gen,  spurts  far  out,  making  it  necessary  to  cut  off  a 
portion  of  the  hydrogen  also.  The  mixed  jet  stop-cock 
therefore  has  six  nipples,  three  for  oxygen  and  three 
for  hydrogen. 

Dissolving  views  with  gas  burners  also  need  the  dou¬ 
ble  dissolving  cock,  but  one  that  gives  as  much  more 
freedom  to  the  hydrogen,  as  its  force  is  weaker. 

A  dissolving  cock  cannot  be  used  in  connection  with 
condensing  gas  cylinders,  because  the  tubing  will  not 
stand  the  pressure.  The  gas  from  them  must  be  con¬ 
trolled  by  stop-cocks  at  their  head. 


164 


SCIOPTICON  MANUAL. 


PREPARATION  OF  OXYGEN  GAS. 

Materials. — Theoretically,  one  pound  of  chlorate  of 
potash  should  yield  37  gallons,  or  5  cubic  feet  of 
oxygen  gas  5  or  enough  to  fill  the  ordinary  30  by  40 
inch  rubber  bag.  In  common  practice,  however,  it  takes 
20  ounces  to  get  5  feet,  or  a  quarter  of  a  pound  to  a 
cubic  foot. 

To  facilitate  the  decomposition  at  a  lower  tempera¬ 
ture,  and  to  moderate  the  flow  of  gas,  we  mix  with  the 
20  ounces  of  chlorate  of  potash  about  5  ounces  of  black 
oxide  of  manganese. 

To  be  assured  that  this  black  powder  is  no  part  char¬ 
coal,  black  lead,  sulphide  of  antimony,  or  any  thing  else 
that  will  make  with  the  chlorate  of  potash  an  explosive 
mixture,  we  may  mix  and  heat  a  sample  of  a  new  sup¬ 
ply  on  a  scrap  of  sheet-iron,  or  in  an  iron  spoon,  over  a 
lamp.  If  it  simply  melts  and  dries  away,  leaving  a  dark 
gray  residuum  it  is  safe ;  if  it  flashes  up,  leaving  a  whitish 
residuum  it  is  unsafe. 

For  habitual  use,  it  is  convenient  to  keep  this  oxygen 
mixture  in  stock.  Put  into  a  box,  say  20  pounds  of 
pure  chlorate  of  potash,  broken,  so  as  to  pass  readily 
into  the  retort.  Add  to  these  white,  broken  crystals,  5 
pounds  of  black  oxide  of  manganese,  and  stir  the  two 
well  together  into  a  dark  gray  mass.  A  pint  cup  is  con¬ 
venient  as  the  measure  of  a  “  charge,”  as  it  holds  besides 
the  manganese  about  a  pound  of  the  chlorate. 

The  Apparatus. — A  gas  stove,  a  (Fig.  43),  where 
we  may  have  it,  is,  perhaps,  the  most  convenient  heat¬ 
ing  apparatus.  An  alcohol  lamp,  as  commonly  recom¬ 
mended,  is  too  slow,  or  else  with  larger  wicks  it  is  in 
danger  of  explosion.  A  kitchen  stove  is  better,  either 
in  the  kettle’s  place  with  a  brisk  fire,  or  else  upon  the 
live  coals. 


SCIOPTICON  MANUAL. 


165 


A  conical  sheet-iron  retort,  b,  about  a  foot  high,  with 
joints  “up  set*'  and  hammered  close,  is  cheaper  than 
the  copper  retort  in  common  use;  is  handier,  stands 
firmer,  lasts  longer,  and  can  be  new-bottomed  by  any  tin¬ 
smith  when  burnt  out.  When  new,  the  seams  should 
be  luted  with  moistened  clay  or  plaster  of  Paris,  and 
whenever  used  the  cap  c  must  be  luted  on. 


Fig.  43. 


The  cap  has  the  same  bevel  as  the  retort,  tapering 
into  a  bent  tube,  the  end  of  which  is  covered  by  the 
flexible  tubing  d.  The  gas  when  liberated  by  heat  passes 
through  this  tubing,  first  down  the  long  pipe  into  the 
water,  near  the  bottom  of  the  wash  bottle  e,  then  bub¬ 
bling  up,  washed  and  cooled,  it  passes  over  and  into  the 
gas  bag  0.  It  will  be  noticed  that  connections  are  made 
in  all  our  apparatus,  by  slipping  the  flexible  tubing  over 
the  ends  of  the  brass  pipes,  which  either  have  tapering 
nipples,  or  are  cut  with  a  slant  on  the  under  side. 

The  Operation  or  Collecting  Oxygen  Gas. — Pour 
the  charge  into  the  retort,  seeing  that  no  chips  or  other 
materials  enter  with  it.  Let  the  wash  bottle  be  less 


166 


SCIOPTICON  MANUAL. 


than  half  full  of  water.  Lute  on  the  cap  with  moistened 
plaster  of  Paris,  and  make  the  connections  as  shown  in 
the  diagram,  except  that  the  outlet  pipe,/,  of  the  wash- 
bottle  may  be  left  open  for  a  moment  or  so,  until  the 
flow  of  gas  expels  the  air ;  see  that  the  stop-cock  is  open 
and  that  the  tubing  is  unobstructed. 

Apply  sufficient  heat  to  almost  immediately  melt  that 
portion  of  the  charge  in  contact  with  the  bottom  of  the 
retort,  then  as  the  rest  melts  in  turn  the  operation  will 
be  gradual.  A  slow  fire  is  to  be  avoided  ;  for  it,  after  a 
tedious  waiting,  raises  the  whole  charge  to  about  the 
melting  point,  when  the  decomposition  suddenly  pro¬ 
ceeds  with  frightful  rapidity,  perhaps  choking  the  pas¬ 
sages  and  parting  the  connections.  The  connections, 
however,  are  so  easily  parted  that  there  will  be  at  the 
worst  only  annoyance  and  loss  of  gas,  but  no  danger. 
It  is  a  common  recommendation  to  abate  the  heat  if  the 
flow  is  too  rapid,  but  with  a  good  heat  from  the  start, 
the  operation  is  expeditious  and  safe. 

When  the  bubbling  ceases  and  we  conclude  from  the 
quantity  of  gas  that  the  charge  is  spent,  we  disconnect 
the  retort  and  remove  it  from  the  fire,  and  close  the  stop¬ 
cock  at  the  bag. 

It  rusts  the  retort  less  to  break  up  the  residuum  with 
a  rod,  getting  it  out  dry;  but  it  is  easier  and  perhaps 
better  to  pour  in  water  and  rinse  it  out,  drying  the 
retort  directly  afterwards. 

PREPARATION  OF  HYDROGEN  GAS. 

Hydrogen,  one  of  the  constituents  of  water,  is  pro¬ 
duced  by  decomposing  that  fluid  with  zinc  and  sulphuric 
acid.  A  few  hours  before  generating  the  gas,  a  mixture 
of  one  part,  say  a  pound,  of  strong  sulphuric  acid  (oil 
of  vitrol)  and  seven  parts  of  water  is  made.  Consider- 


SCIOPTICON  MANUAL. 


167 


able  heat  is  produced  in  making  the  mixture,  and  for 
this  reason  it  should  be  made  beforehand  in  an  earthen¬ 
ware,  not  a  glass  vessel,  so  as  to  allow  sufficient  time  for 
it  to  become  cool  before  being  added  to  the  granulated 
zinc  contained  in  the  generator  a  (Fig.  44). 


h 


Fig.  44. 


About  half  a  pound  of  zinc  is  introduced  into  the 
generator  (a  glass  bottle  to  hold  three  gallons  or  more, 
or  a  vessel  made  of  lead),  the  top  of  which,  bearing  the 
tube  funnel  and  hent  exit  tube,  is  then  replaced,  and  the 
joint  being  made  airtight  (in  the  case  of  a  leaden  gene¬ 
rator  by  means  of  a  screw,  and  in  the  case  of  a  glass 
bottle,  by  a  metallic  stopper  coated  with  rubber),  the 
diluted  acid  is  poured  down  the  long  tube  funnel  b ,  the 
end  of  which  descends  far  enough  into  the  liquid  to 
prevent  the  return  of  gas  in  that  direction.  A  brisk 
action  ensues,  the  gas  effervescing  like  so  much  soda- 
water.  The  first  portions  should,  however,  be  allowed 
to  escape  for  some  minutes  at  the  outlet  of  the  wash 
bottle  c,  to  expel  the  air.  To  ascertain  when  hydrogen 
begins  to  flow,  we  might  apply  a  light  to  soap-bubbles 


168 


SCIOPTICON  MANUAL. 


blown  from  it  into  a  saucer,  or  to  the  aperture  itself  if  pro¬ 
tected  by  a  fine  wire  gauze  thimble ;  but  such  troublesome 
precautions  rather  tend  to  incur  a  risk,  where  there 
would  be  none  without  them.  W e  can  j  udge  near  enough 
from  appearances  when  to  complete  the  connection. 

Where  the  precaution  of  diluting  the  sulphuric  acid 
and  allowing  the  mixture  to  cool  has  been  neglected, 
and  sufficient  time  cannot  be  allowed  for  the  purpose, 
the  zinc  and  water  may  be  placed  in  the  generator,  and 
the  concentrated  acid  slowly  poured  down  the  tube 
funnel  as  it  is  required. 

It  is  equally  important  that,  before  collecting  the  gas, 
the  bag  in  which  it  is  to  be  received  should  be  pressed 
quite  flat,  or  rolled  with  the  stop-cock  open,  so  as  to 
exclude  all  trace  of  atmospheric  air.  The  time  when 
pure  hydrogen  is  coming  off  may  be  known  by  the  rapid 
rise  of  the  bubbles  to  the  top  of  the  water,  and  by  the 
accompanying  sound,  which  the  ear  will  recognize,  after 
a  little  practice,  as  being  unlike  that  of  other  gases. 
The  purifier  e  should  be  about  half  filled  with  water; 
and  connection  being  made  between  the  exit  tube  f 
and  the  gas  bag  by  means  of  india-rubber  tubing,  as 
shown  in  the  cut,  be  careful  to  turn  on  the  stop-cock  s,  in 
order  that  the  gas  may  have  free  entrance  into  the  bag. 

The  process  here  given  is  the  simplest  of  the  several 
in  common  use,  and  the  best  for  collecting  hydrogen 
gas  in  a  not  very  large  quantity.  The  self-condensing 
gas  cylinder,  to  be  next  described,  promises  to  super-’ 
sede  the  more  complicated  methods,  so  that  their  inser¬ 
tion  here  would  be  useless. 

It  may  be  proper  here  to  suggest,  that  after  an  exhi¬ 
bition  the  bags,  particularly  the  one  marked  “  H,”  if 
not  to  be  soon  used  again,  should  be  completely  emptied, 
not  only  to  preserve  them,  but  to  insure  having  fresh 
gas  next  time. 


SCIOPTICON  MANUAL. 


169 


pressure:  boards. 

Instead  of  the  ordinary  iron  hinges,  which  only  allow 
the  pressure  boards  to  open  from  the  line  of  contact, 
two  long  leather  straps,  pierced  with  holes,  may  be  per¬ 
manently  attached  to  the  lower  hoard  and  hitched  to 
screw-heads  on  the  upper  board,  allowing  it  to  be  in  a 
plane  nearly  parallel  with  the  lower  board,  while  the  bag 
of  gas  is  between  them  and  the  weight  bears  on  the 
side  opposite.  These  straps  may  be  hitched  up,  from 
time  to  time,  as  the  gas  is  expended.  By  giving  sufficient 
length  to  these  strap-hinges,  the  two  bags  for  the  mixed 
jet  may  be  placed  one  upon  the  other  and  subjected  to 
the  same  pressure. 

The  three  boards  hinged  together  in  the  shape  of  the 
#  letter  Z,  to  receive  a  bag  in  each  angle,  as  commonly 
recommended,  are  not  only  heavy  and  expensive,  but  a 
measure  could  hardly  be  devised  more  likely  to  give 
unequal  pressure.  A  long  board  extending  from  one 
bag  to  the  other,  with  the  weight  upon  the  middle,  would 
be  better. 

The  necessity  of  exactly  equal  pressure  to  be  given  to 
the  two  gases  used  with  the  mixed  jet,  is  not  so  absolute 
as  might  be  inferred  from  the  way  it  is  usually  spoken 
of.  It  is  surely  well  to  see  that  the  bags  are  about  equally 
weighted.  When  two  gas  cylinders  are  used,  one  nearly 
spent  need  not  be  mated  with  one  fully  charged.  If, 
however,  the  pressure  in  each  is  in  excess  of  what  is 
needed,  the  stop-cocks  are  made  to  regulate  the  flow. 

As  it  is  inconvenient  to  transport  heavy  weights  from 
place  to  place,  traveling  exhibitors  may  fill  a  box  or  bag 
with  brick  or  stone  at  each  place  of  exhibition.  This 
expedient  affords  a  steadier  weight  than  to  seat  boys 
upon  the  pressure-boards,  and  more  continuous  than  can 
be  effected  by  clamping  screws. 

12 


170 


SCIOPTICON  MANUAL. 


EDGERTOX  S  SELF-CONDEXSIXG  GAS  CTLIXDERS. 

“  Special  attention  is  asked  to  these  cylinders,  affording 
as  they  do  a  more  easy  and  safe  means  of  producing  and 
condensing  the  gases  for  stereopticon  purposes  and  gen¬ 
eral  illumination.  To  the  traveling  exhibitor  they  fur- 


B 


A 


Fig.  45. 


nish  a  compact  means  of  transporting  his  gases,  and 
save  the  labor  and  vexation  of  carrying  weights,  pres¬ 
sure-boards,  etc.;  while  to  the  teacher  they  are  invalu¬ 
able,  placing  at  his  command,  at  all  times,  a  powerful 
light  as  readily  started  and  as  easily  managed  as  that 
of  a  coal-oil  lamp. 

“  They  are  made  of  wrought  iron,  with  a  cast-iron  cap, 
and  are  capable  of  sustaining  a  pressure  twenty  times 
as  great  as  the  strain  they  are  subject  to.  Referring 


SCIOPTICON  MANUAL. 


171 


to  the  cut,  A  is  the  wrought-iron  cylinder,  B  the  cast- 
iron  cap,  G  the  valve,  _D  the  nipple  for  hose,  and  E  the 
pressure-gauge.  The  hydrogen  cylinder  is  coated  with 
vulcanized  rubber  and  is  proof  against  the  action  of 
the  sulphuric  acid.  It  is  usually  a  size  larger  than  the 
oxygen  cylinder. 

“To  operate  the  cylinder  for  oxygen ,  unscrew  and  remove 
the  cap ;  then  set  the  cylinder  over  the  fire  (a  range  or 
stove  preferred)  until  quite  warm  and  entirely  dry ;  then 
pour  in  the  chlorate  of  potash  (one  pound)  and  the  black 
oxide  of  manganese  (four  ounces).  See  that  none  of  the 
mixture  falls  upon  the  cylinder  head,  so  as  to  prevent 
the  cap  fitting  closely  down.  How  rub  a  little  tallow 
on  the  cap  to  make  a  smooth  joint,  replace  it  so  that  the 
marks  on  the  cylinder  and  on  the  cap  will  coincide,  and 
screw  the  nuts  down  tight;  then  screw  on  the  gauge 
and  open  the  valve.  Allow  the  cylinder  to  remain  on 
the  fire  until  the  gas  has  come  off,  which  will  be  indi¬ 
cated  by  the  rise  of  the  colored  fluid  in  the  gauge.  The 
gas  from  one  pound  of  chlorate  of  potash  will  raise  the 
fluid  to  within  three-fourths  of  an  inch  to  an  inch  of  the 
top  of  the  tube.  The  cylinder  ought  not  to  be  made 
red  hot  in  any  part.  When  the  gas  has  come  off,  set  the 
cylinder  away  to  cool ;  and  after  it  has  become  cold, 
shut  the  valve,  remove  the  gauge,  and  screw  on  the 
nipple.  It  is  now  ready  for  use  at  any  time,  but  can 
remain  in  the  cylinder  for  months,  if  not  required  sooner. 

“  When  the  gas  is  all  used  up,  shut  the  valve,  and  let  it 
stay  closed  until  you  wish  to  make  a  new  lot.  This  will 
keep  the  cylinder  dry  and  obviate  the  necessity  of  dry¬ 
ing  over  the  fire  before  recharging.  Then,  when  you 
wish  to  make  fresh  gas,  unscrew  and  remove  the  cap, 
tapping  the  end  of  the  wrench  with  a  hammer  if  the 


172 


SOIOPTICON  MANUAL. 


nuts  are  hard  to  start ;  take  a  piece  of  wood,  sharpened 
at  one  end,  insert  it  in  the  cylinder,  and  break  up  the 
residuum  by  a  few  vigorous  blows ;  pour  it  out  and  re¬ 
charge  without  either  washing  or  drying. 

“  To  operate  the  cylinder  for  hydrogen ,  unscrew  the  cap  as 
before,  put  in  two  pounds  of  scrap  zinc,  and  add  a  mix¬ 
ture  of  sulphuric  acid  and  water  (four  pounds  of  acid 
and  four  quarts  of  water).  This  mixture  should  be  cold 
when  poured  into  the  cylinder.  As  soon  as  the  liquid  is 
poured  in,  screw  down  the  cap  as  before,  slip  a  gum  tube 
on  the  nipple,  and  begin  to  use  as  soon  as  there  is  suffi¬ 
cient  pressure,  if  it  is  desirable.  There  is  no  practical 
use  for  the  meter  in  this  case;  if  used,  the  red  liquid 
will  stand  within  about  a  quarter  of  an  inch  of  the  top 
of  the  tube  when  the  operation  is  completed. 

“As  there  is  an  excess  of  zinc  introduced  all  the  acid 
will  be  neutralized.  There  will  be  no  deterioration  of 
the  gas  or  injury  to  the  cylinder  from  long  standing. 
When  the  hydrogen  is  burned  up,  pour  in  water  to  dis¬ 
solve  the  sulphate  of  zinc.  This  is  easily  done,  and  the 
cylinder  is  then  rinsed  out,  and  is  ready  for  another 
charge.” 

We  believe  with  the  inventor,  as  above  expressed, 
that  the  self-condensing  gas  cylinders  will  prove  a  very 
great  convenience  in  the  production  of  the  lime  light. 

It  is  obvious  that  the  directions  as  to  fitting  the  cap 
upon  the  cylinder-head  must  be  strictly  observed.  Any 
particles  between  the  meeting  surfaces  prevents  perfect 
contact  and  so  will  allow  the  gas  to  escape. 

The  oxygen  cylinder,  owing  to  its  thickness,  requires 
a  longer  heating  to  disengage  the  gas  than  the  retort 
before  described.  There  is,  in  this  case,  no  outward 
current  of  gas,  dust,  or  foam,  to  make  former  directions 
applicable  only  so  far  as  repeated  above. 


SCIOPTICON  MANUAL. 


173 


MARCI’S  SCIOPTICON  AND  TRIPLE  JET. 


The  condensing  gas  cylinder 
occupies  but  a  small  portion  of 
the  space  required  by  a  gas  bag 
with  its  pressure  boards  and 
weights.  Considering,  moreover, 
that  the  apparatus  here  illustrated 
gives  the  best  results  with  compar¬ 
atively  little  trouble,  the  signifi¬ 
cant  heading  of  “  Much  in  Little,” 
is  well-deserved. 

With  oxygen  in  the  cylinder, 
or  in  a  bag,  we  may  have  the 
Fi<j.  46.  lime  light  either  with  alcohol  or 

with  gas  from  house  gas  fixtures.  For  the  mixed  jet,  the 
hydrogen  must  be  forced  from  a  second  cylinder  or  bag. 


174 


SCIOPTICON  MANUAL. 


ATTACHMENTS  FOR  USE  WITH  THE  LIME  EIGHT. 

The  Lantern  Microscope. — This  instrument  is  in¬ 
tended  to  show  natural  objects,  suitably  prepared  and 
mounted  with  Canada  balsam,  between  two  discs  of  glass. 
They  consist  of  details  in  the  anatomy  of  a  bee,  wasp, 
flea,  spider,  larvse  of  insects  found  in  stagnant  water,  as 


mg.  47. 


gnats,  dragon-flies,  parasitic  and  other  insects;  parts 
of  insects,  sections  of  woods,  teeth,  bones,  fossil  bones, 
shells,  lace,  silk,  muslin,  etc. ;  and  as  such  objects  are 
smaller  than  paintings  for  the  lantern,  and  contain  more 
delicate  details,  a  proportionately  higher  magnifying 
power  is  required,  which  may  be  adapted  to  the  front 
of  the  Sciopticon. 

The  ordinary  lantern  microscope  objective,  sold  at 
about  $10.00,  has  a  high  and  low-power  combination. 
There  is,  however,  all  the  need  of  achromatic  objectives 
for  projections  that  there  is  for  the  common  microscope; 
in  which  case  the  cost  cannot  be  less.  The  apparatus 
shown  at  Fig.  47,  with  an  inch  objective,  costs  about 
$60.00.  The  objectives  of  a  table  microscope  might 
doubtless  be  adapted  to  lantern  use.  Of  course  there  can 
be  no  satisfactory  results  without  proper  adaptations, 
and  perfect  alignment  and  adjustment  of  distances. 


SC  I OPTICON  MANUAL.  175 

Experiments  with  the  Lantern  Microscope. — By 
filling  a  glass  trough  with  diluted  sulphuric  acid,  and 
dropping  into  it  a  few  pieces  of  granulated  zinc,  the 
decomposition  of  water  may  be  shown  to  an  entire  au¬ 
dience.  Aided  by  a  six-cell  Smee’s,  or  Grove’s,  battery, 
and  a  small  thin  tank,  the  power  which  palladium  pos¬ 
sesses  of  absorbing  nine  hundred  times  its  volume  of 
hydrogen  may  also  be  shown;  the  snake-like  contortions 
of  the  strip  of  metal,  and  the  bubbles  of  gas  escaping 
on  the  reversing  of  the  current,  proving  very  interesting. 

The  crystallization  of  salts  may  also  be  shown  by 
placing  a  drop  of  a  strong  solution  of  Epsom  salts,  or 
sulphate  of  copper  (blue  vitriol),  on  a  piece  of  glass  of 
suitable  size. 

Another  effective  result  is  obtained  by  placing  in  the 
glass  tank  a  small  horse-shoe  magnet,  and  dropping 
around  it  some  iron  filings,  which  will  be  found  to  ar¬ 
range  themselves,  or  rather  be  attracted  by  the  magnet, 
in  a  most  extraordinary  manner. 

Exhibitions  of  microscopic  objects  by  the  aid  of  the 
magic  lantern  in  the  drawing-room  sometimes  fail  to 
give  that  complete  satisfaction  which  is  desirable,  owing 
to  attempts  being  made  to  show  them  on  too  large  a 
scale  in  proportion  to  the  light  employed.  We  have 
given  very  satisfactory  exhibitions  on  a  sheet  of  Im¬ 
perial  (22x30)  white  card-board,  fastened  by  drawing- 
pins  to  a  board,  and  fixed  against  some  books  or  on  a 
chair.  In  this  way  the  proboscis  of  a  blow-fly  may  be 
enlarged  to  two  feet  in  length,  and  this  is  found  to  be 
quite  large  enough  for  most  private  assemblies. 

It  is  desirable  to  have  two  or  three  sets  of  lenses,  of 
different  powers,  with  the  microscope,  which  are  varied 
to  suit  the  object  to  be  exhibited ;  and  it  is  important 
to  observe  that  when  minute  objects  are  being  exhibited, 


176 


SCIOPTICON  MANUAL. 


and  a  high  power  consequently  in  use,  the  source  of 
light  should  be  drawn  farther  from  the  condensing  lenses. 
A  very  interesting  addition  to  the  microscope  consists 
of  a  diagonal  mirror,  whereby  the  image  of  the  objects, 
instead  of  being  projected  directly  on  an  opaque  screen, 
may  be  thrown  down  at  right  angles  on  a  sheet  of  paper 
placed  on  a  table,  and  a  drawing  very  conveniently 
made. 


Holman’s  Siphon  Slide  (Fig.  48)  allows  the  passage 
of  a  continuous  current  of  water  for  the  purpose  of 
keeping  it  cool  in  the  focus  of  light.  It  is  designed 


Fig.  48. 


for  showing  the  circulation  of  the  blood  in  a  tadpole’s 
tail,  of  the  sap  in  plants,  &c.  Its  price,  without  the 
bottles,  is  $5.00. 

A  tank  filled  with  a  solution  of  alum  is  sometimes 
used  to  absorb  much  of  the  heat  of  a  beam  of  light 
before  it  falls  upon  a  delicate  microscopic  object. 


SCJIOPTICON  MANUAL. 


177 


THE  MAGIC  LANTERN  KALEIDOSCOPE. 

The  Kaleidoscope  was  invented  by  Sir  Da*vid  Brew¬ 
ster,  in  1814,  and  all  who  have  witnessed  the  beautiful 
effects  produced  by  the  instrument  will  welcome  its 
adaptation  to  the  magic  lantern,  which,  notwithstand¬ 
ing  the  attendant  optical  difficulties,  has  at  length  been 
accomplished. 


Fig.  49. 

The  instrument  is  shown  in  section  at  Fig.  49;  A  being 
a  sectional  view,  showing  the  disposition  of  the  mirrors; 
JB,  an  outline  of  the  eight-celled  image;  0,  a  side  view 
of  the  brass  mount,  containing  the  reflectors  and  lenses, 
with  sliding  adjustment  for  focusing,  and  projecting  the 
image  upon  the  screen. 

It  is  attached  to  the  lantern  by  unscrewing  the  front 
and  screwing  the  kaleidoscope  into  its  place,  turning  it 
round  in  its  sliding  tube  until  the  reflectors  are  upright, 
like  the  letter  V.  A  rack  slide,  containing  some  frag¬ 
ments  of  colored  glass,  bugles,  beads,  and  other  trans¬ 
parent  objects,  is  also  shown  ;  this  is  introduced  into  the 
usual  slide-holder  of  the  lantern,  and  the'focus  adjusted 
by  sliding  the  kaleidoscope  in  or  out  until  its  back  lens 
is  at  a  proper  distance  from  the  slide. 

In  a  former  paragraph,  the  great  importance  of  having 


/ 


178 


SCIOPTIC  ON  MANUAL. 


the  various  parts  of  the  lantern  and  the  objects  to  be 
shown  properly  centred  has  been  dwelt  upon  at  some 
length.  Now,  however,  the  direction  is  to  raise  the  light 
about  an  inch  above  the  centre  of  the  condenser,  which 
can  best  be  done  by  sliding  a  narrow  board  under  the 
blow-pipe.  The  maximum  of  illuminating  power  is 
obtained  in  the  usual  way,  by  pushing  the  light  back¬ 
wards  and  forwards,  and  the  correct  focus  is  obtained 
by  means  of  the  front  sliding  tube.  Any  dark  portions 
of  the  image  may  be  removed  by  turning  the  kaleido¬ 
scope  round  a  very  little  to  the  right  or  left. 

The  instrument,  before  using,  should  be  warmed,  to 
prevent  what  is  popularly  known  as  the  “  steaming  of 
the  glass.” 

Hackwork  frames,  containing  pieces  of  colored  glass, 
are  supplied  by  the  opticians;  but  exceedingly  beautiful 
effects  are  obtainable  with  the  chromatrope,  a  piece  of 
perforated  zinc,  the  bow  and  the  wards  of  a  key,  grasses, 
feathers,  a  bunch  of  oats,  etc.,  etc. 

THE  OXYHYDROGEJf  JPOEARISCOPE. 

Fig.  50  shows  the  Oxyhydrogen  Polariscope,  which 
consists  of  two  tubes  inclined  to  each  other  at  an  angle 
of  56°  45',  and  truncated  at  their  points  of  junction; 
the  oval  space  thus  formed  being  closed  by  some  ten  or 
twelve  pieces  of  thin  crown  glass,  the  lowest  of  which 
is  blackened  to  absorb  the  polarized  ray.  This  appa¬ 
ratus  replaces  the  object-glass  of  the  lantern,  which 
should  have  condensers  not  less  than  3J  inches  diameter. 
When  attached,  it  will  be  seen  that  the  light  emanating 
from  the  point  X,  after  passing  through  the  condensers 
O',  becomes  incident  on  the  crown  glass  G,  inclined  at 
the  polarizing  angle  (56°  45') ;  the  reflected,  and  in  this 
case  polarized,  light  then  passes  through  the  selenite, 


SCIOPTICON  MANUAL. 


179 


or  other  object,  in  the  aperture  at  0 ;  after  which  it  is 
brought  to  a  focus  by  the  object-glasses  at  F ,  and  finally 
again  polarized,  or  analyzed ,  by  the  NicoFs  prism  P,  and 
thence  thrown  on  the  screen,  the  disc  on  which  should 
not  exceed  three  feet  in  diameter. 


Fig,  50, 

The  phenomena  connected  with  the  polarization  of 
light  are  attended  by  a  most  gorgeous  display  of  colors, 
and  are,  in  consequence,  among  the  most  attractive  in 
the  whole  range  of  physical  optics  ;  an  apparatus,  there¬ 
fore,  which  facilitates  their  exhibition  to  an  audience 
becomes  a  most  valuable  adjunct  to  the  magic  lantern. 

The  subject  itself  is,  however,  of  too  recondite  a  nature 
to  admit  of  adequate  treatment  in  the  present  manual; 
the  reader  is  therefore  referred  to  Pereira’s  lectures  on 
“  Polarized  Light,”  “  Ganot’s  Physics,”  and  other  works 
on  Physical  Optics. 

The  objects  best  suited  for  the  polariscope  are  designed 
with  films  of  selenite  of  various  thicknesses  and  forms; 


180 


SCIOPTICON  MANUAL. 


sections  of  quartz,  cut  in  diiferent  relation  to  the  axis 
of  the  crystal,  producing  most  splendid  tints;  unan¬ 
nealed  glass,  quill,  Iceland  spar,  and,  indeed,  almost 
any  matter  the  particles  of  which  are  in  a  state  of 
tension.  Specimens  may  he  seen,  and  lists  of  the  various 
designs  are  obtainable,  from  opticians  supplying  the 
apparatus. 

In  Fig.  50,  the  polarizer  consists  of  a  bundle  of  glass 
plates,  6r,  with  the  Nicol’s  prism,  P,  to  analyze  the 
polarized,  reflected  rays. 


The  polariscope  here  represented  (Fig.  51)  consists  of 
a  Foucault  prism,  of  36  millimetres  in  diameter,  as 
polarizer,  and  a  Nicol’s  prism,  of  20  millimetres  in 
diameter,  as  analyzer. 


THE  SCIOPTICOF 


AND 


DISSOLVING  VIEW  APPARATUS, 

WITH  A 

‘JPriced  (Jatalogue 

OF 

MAGIC  LANTERN  SLIDES, 


fUwsstrateb  aitb  Classifieb. 


REVISED  EDITIO  33\ 


PHILADELPHIA : 

SOLD  BY  L.  J.  MAECY,  OPTICIAN, 
Ho.  1340  Chestnut  Street. 


NOTICE. 


Slides  may  be  ordered  by  class  and  number  from  tbe  catalogue  of 
any  Optician,  by  giving  the  name  and  the  edition  used. 

The  receipt  of  money  will  be  acknowledged  by  return  mail. 

When  bills  are  ordered  by  express,  C.O.D.,  a  remittance  of  ten 
dollars  must  accompany  the  order.  The  express  charge  for  col¬ 
lection  will  be  added  to  the  amount  of  the  bill. 

It  will  save  express  charge  for  collection  to  send  the  amount  of 
the  bill  at  once,  with  the  order. 

Bills  amounting  to  $100  are  subject  to  a  reduction  of  5  per  cent. 

The  best  mode  of  remitting  money  is  by  a  bank  draft  made  pay¬ 
able  to  my  order,  or  by  a  post-office  money  order,  or  by  express. 

Making  the  Sciopticon,  and  lantern  slides,  and  all  appliances  in 
this  line  a  specialty,  and  having  the  best  of  facilities  for  conduct¬ 
ing  the  business,  and  of  bringing  every  improvement  to  bear,  I  feel 
assured  of  being  able  to  fill  all  orders  in  a  satisfactory  manner. 

All  goods  are  packed  with  care,  without  charge,  and  are  war¬ 
ranted  to  be  in  good  condition  when  they  leave  the  store. 

Any  further  particulars  that  may  be  desired  will  be  cheerfully 
given  by  letter. 

Correspondents  will  oblige  by  giving  in  a  plain  hand  the  post- 
office  address  to  which  their  answers  are  to  be  directed,  and  also 
the  express  station  to  which  the  goods  are  to  be  forwarded. 

L.  J.  Marcy, 

1340  Chestnut  Street,  opposite  the  TJ.  S.  Mint, 


PHILADELPHIA. 


THE  SCIOPTICON 


WITH  ATTACHMENTS  AND  ACCOMPANYING 
APPAKATUS. 


The  Sciopticon  with  its  oil  lamp  rather  than  with  its  lime  light, 
continues  to  stand  at  the  head.  It  is  the  choice  of  the  many  for 
its  being  always  ready,  easy  to  manage,  and  inexpensive  to  use  ; 
showing  with  great  brilliancy  and  steadiness  for  hours  without 
readjustments  or  annoyances,  and  without  heating  the  oil  or  crack¬ 


ing  the  glass  ;  while  to  close  an  exhibition  we  have  no  further  care 
than  to  turn  down  the  wicks. 

Pigures  in  parenthesis  in  the  following  enumeration  refer  to 
descriptions  and  illustrations  in  the  Sciopticon  Manual. 

1 — The  Sciopticon,  with  Sciopticon  lamp,  as  illustrated 
above.  With  extension  chimney ;  larger  opening  for 
escape  of  heat  and  for  closing  the  flame-chamber  from 

(3) 


4 


outside ;  condensing  lenses  of  finest  glass,  four  inches 
in  the  clear,  to  cover  the  new  large  slides  (p.  140) ; 
achromatic  objective  made  with  special  care  for  the 
Sciopticon  ;  opaque  curtain  operated  by  milled  heads 
at  the  sides  ;  tinters  operated  by  knobs  above ;  stage 
with  the  new  stop.  All  of  the  latest  and  most  careful 
and  finished  construction, . $45  00 


The  new  additions  and  improvements  do  not  add  to  the 
price  of  the  Sciopticon,  but  they  put  all  further  discount  out  of 
the  question. 

2 —  Sciopticon  Case,  for  carrying  the  instrument  and  for 

standing  it  upon  when  in  use, . 3  00 

3 —  Sciopticon  Case  (same  as  No.  2),  with  the  addition  of 

adjustable  legs, . 5  00 

4 —  Box,  for  100  wooden-mounted  slides, . 2  50 

5 —  Box,  for  60  wooden-mounted  slides, . 1  50 

6 —  Double  Case,  for  a  pair  of  dissolving  Sciopticons,  which 

with  its  adjustable  legs  becomes  the  exhibiting  stand ; 
black  walnut,  finely  finished  and  polished,  .  .  .  .  10  00 

7 —  Dissolver,  for  a  pair  of  Sciopticons  with  oil  lamps,  .  2  00 

8 —  Pair  of  Sciopticons,  like  No.  1,  with  case  and  dis¬ 

solver,  Nos.  6  &  7  (p.  40,  Fig.  16), .  100  00 

9 —  Sciopticons  of  Earlier  Date,  and  lanterns  of  other 

forms,  are  priced  on  a  sliding  scale  from  $40  to  .  .10  00 

10—  Marcy’s  Triple  Jet,  for  each  of  the  three  forms  of  lime 

light  (p.  158,  Fig.  40), .  14  00 

11 —  India-Rubber  Bag,  plain,  best  quality,  30  inches  long 

by  24  inches  wide,  with  large  stop-cock, . 13  00 

12 —  India-Rubber  Bag,  plain,  best  quality,  40  inches  long 

by  30  inches  wide,  with  large  stop-cock, . 16  00 

13 —  India-Rubber  Bag,  cloth-lined,  best  quality,  40  inches 

long  by  30  inches  wide,  with  large  stop  cock,  .  .  .  22  00 


5 


14—  Pressure  Boards  (p.  169), . $4  00 

15 —  Retort  Wash-Bottle,  Bag  No.  11,  connections  (p.  165, 

Tig.  43,  b,  c,  d,  e, /,  s,  o), .  20  00 

16—  Gas  Stove  (p.  165,  Fig.  43,  a), . 2  00 

17—  Hydrogen  Generator,  copper, . 15  00 


18 —  Lime  Disks,  two  inches  in  diameter  and  five-eighths  of 

an  inch  thick,  in  a  sealed  can,  per  dozen,  ....  2  00 

19 —  Oxygen  Materials,  in  packages  having  a  pound  of 

chlorate  of  potash  in  each,  per  dozen, . 2  00 

20 —  Zinc,  granulated,  per  pound, .  20 

21 —  Rubber  Tubing,  per  foot, .  30 

22 —  Dissolving  Stop-Cock,  for  a  pair  of  alcohol  lime  lights,  6  00 

23 —  Dissolving  Stop-Cock,  for  a  pair  of  mixed  jet  lime 

lights, . 12  00 

24 —  Oxygen  Self- Condensing  Gas  Cylinder,  6  inches  in 

diameter  and  15  inches  high,  with  gauge  and  wrench 
(p.  170,  Fig.  45), .  45  00 

25 —  Hydrogen  Self-Condensing  Gas  Cylinder,  6  inches  in 

diameter  and  24  inches  high,  with  gauge  and  wrench,  55  00 

26 —  Sciopticon  No.  1,  in  Case  No.  2, .  48  00 

27 —  Sciopticon  No.  1,  Triple  Jet  No.  10,  in  Case  No.  2,  .  60  00 

28 —  Gas  Bag,  etc.,  No.  15,  with  No.  27, .  80*00 

29—  Oxygen  Cylinder  No.  24,  Sciopticon  No.  1,  Triple  Jet 


No.  10  (p.  173,  Fig.  46),  net, .  100  00 

30—  Sciopticon  with  Triple  Jet,  but  without  oil  lamp,  .  45  00 

31 —  Kaleidoscope,  . .  20  00 

32—  Microscope  (p.  174,  Fig.  46), .  65  00 

33 —  Polariscope  (p.  80,  Fig.  51), .  60  00 


6 


Chemicals  for  the  tank  experiments,  chemicals  for  photographing  slides, 
colors  for  coloring  slides,  screens,  and  all  lantern  apparatus  and  appliances 
not  herein  enumerated  will  be  furnished  at  the  lowest  market  prices. 

A  very  convenient  Plain  Tank  prepared  specially  for  the  Sciopticon,  $1  00 
Plain  Tank,  as  in  the  annexed  figure, . 3  00 


Half  dozen  fine  glass  plates,  4  inches  square,  to  show  crystalliza 

tion, . 

Pipette,  with  rubber  bulb,  to  use  with  tanks, 

Rood’s  apparatus  to  show  progressive  motion  of  a  wave, 
Bisulphide  of  Carbon  Prism,  to  hold  in  the  hand,  . 

Glass  Goblet,  to  be  filled  with  water  in  front  of  condensers,  show 
ing  at  the  same  time  refraction  and  inversion  by  lenses,  . 
Grooved  Frame  for  glass  slides,  ...... 

Lamp-wicks  for  the  Sciopticon  light,  per  dozen,  . 

Flame  chamber  glasses,  per  dozen,  ..... 


1  50 
1  25 
3  00 
5  00 

50 

25 

25 

25 


Marcy’s  Photographic  Printing  Apparatus,  . 


7  00 


MAGIC  LANTERN  SLIDES 


The  readiest  way  of  setting  forth  lantern  slides  would  be  to  catalogue 
everything  procurable,  whether  good,  bad,  or  indifferent ;  so  “yow  pays 
y&ur  money ,  and  you  takes  your  choice.''''  But  you  find  in  attractive  titles 
no  infallible  index  to  desirable  pictures  ;  what  you  may  judge  to  be  a 
lucky  number  is  not  sure  to  draw  a  valuable  prize. 

It  is  my  great  desire  not  to  sell  poor  pictures,  not  only  because  they  fail 
of  giving  satisfaction,  but  because  they  fail  of  showing  to  advantage  the 
merits  of  the  Sciopticon. 

The  following  lists,  therefore,  are  very  carefully  sifted  and  arranged, 
with  a  view  of  assisting  purchasers  in  making  satisfactory  selections. 
This  arrangement  applies  more  particularly  to  standard  colored  pictures 
copied  from  the  great  masters,  and  from  scientific  illustrations.  Plain 
lantern  slides  are  produced  by  a  rapidly  increasing  number  of  photogra¬ 
phers,  which  renders  everything  like  a  complete  or  permanent  classification 
impracticable. 

For  an  exhibition  of  two  hours’  duration,  forty  pictures  at  least  are 
needed.  With  a  greater  number  it  will  require  less  effort  in  speaking  to 
entertain  the  audience. 

In  cases  where  it  is  admissible,  two  or  three  verses,  every  now  and  then, 
of  some  familiar  hymn  thrown  upon  the  screen  relieves  the  lecturer,  and 
never  fails  of  bringing  out  the  musical  talent  of  the  company,  and  of  pro¬ 
ducing  a  high  degree  of  satisfaction.  When  photographed  hymns  are  not 
obtainable,  they  may  be  written  on  gelatine-covered  glass. 

Slides  can  be  conveniently  ordered  by  only  specifying  their  class  and 
number. 

Under  a  general  direction,  a  specified  list  will  be  suggested  by  letter  to 
purchasers  who  request  it. 

Picture  slides  now  in  market  are  very  numerous,  after  all  the  great 
masters,  early  and  late,  as  found  in  all  the  principal  picture  galleries,  any 
of  which  can  be  supplied. 

It  must  be  confessed,  however,  that  it  is  not  easy  to  get  pictures  of  all 
subjects  as  good  as  one  could  wish.  They  have  all  been  very  carefully 
examined  with  a  view  of  selecting  the  best,  and  of  arranging  them  so  as 
not  to  perplex  purchasers. 

The  pictures  in  the  first  thirty  classes,  except  such  as  are  said  td  be 
painted,  or  are  otherwise  designated,  are  photographed  on  glass,  and 
beautifully  and  artistically  colored. 

Class  I-^Old  Testament  Illustrations. 


PER  SLIDE,  $2.50. 


L  Adam  and  Eve  in  Paradise. 

J  The  Temptation. 

3  The  First  Human  Family. 

4  Death  of  Abel. 

5  Cain  Builds  the  First  City. 

6  Three  Tribes  descend  from  Cain. 


7  The  Deluge. 

8  Noah’s  Sacrifice. 

9  Tower  of  Babel. 

10  Abraham  and  the  Three  Angels. 

11  Hagar’s  Departure. 

12  Hagar  in  the  Wilderness. 


8 


13  Abraham’s  Sacrifice. 

14  Abraham  buries  Sarah. 

15  The  Flight  of  Lot. 

16  Rebekah  at  the  Well. 

17  Arrival  of  Rebekah. 

18  Isaac  blesses  Jacob. 

19  Jacob’s  Dream. 

20  Jacob  in  the  House  of  Laban. 

21  Joseph  thrown  into  the  Well. 

22  “  sold  to  the  Midianites. 

23  “  Bloody  Coat  shown. 

24  “  interprets  Pharaoh’s  Dream. 

25  “  makes  himself  known. 

26  “  meets  his  Father  in  Goshen. 

27  “  presents  his  Father  to  Pha¬ 

raoh. 

28  Jacob  blesses  the  Sons  of  Joseph. 

29  Jacob  blesses  his  Twelve  Sons. 

30  Moses  Exposed. 

31  Moses  Saved. 

32  The  Burning  Bush. 

33  Pharaoh  entreats  Moses. 

34  Pharaoh  and  his  Host  drowned. 

35  The  Song  of  Miriam. 

36  Gathering  Manna. 

37  Moses  smiting  the  Rock. 

38  The  Brazen  Serpent. 

39  Moses  receiving  the  Tablets. 

40  Moses  descends  from  Sinai. 

41  Falling  Walls  of  Jericho. 

42  Jephthah’s  Daughter  meeting  her 

Father. 

43  Sacrifice  of  Jephthah’s  Daughter. 

44  Samson  and  the  Foxes. 

45  Samson  and  Delilah. 

46  Samson  destroying  the  Temple. 

47  Naomi  and  Ruth. 

48  Boaz  and  Ruth. 

49  Samuel  and  Eli. 

50  Saul  and  the  Witch  of  Endor. 

51  David  slaying  the  Lion. 

52  David  slaying  Goliath. 

Class  II  —  New  Tes 

PER  SLI] 

1  The  Annunciation. 

2  Naming  of  John  the  Baptist. 

3  The  Birth  of  Christ. 

4  Birth  of  Christ  announced  to  the 

Shepherds. 

5  The  Star  of  Bethlehem. 

6  The  Adoration  of  the  Magi. 

7  Presentation  in  the  Temple. 


53  David  bringing  the  Ark. 

54  Nathan’s  Parable. 

55  Absalom  entangled  in  the  Oak; 

56  Judgment  of  Solomon. 

57  The  Widow’s  Oil. 

58  Ascent  of  Elijah. 

59  Children  in  the  Fiery  Furnace. 

60  Captives  in  Babylon. 

61  Daniel  in  the  Lions’  Den 

62  Esther  and  Ahasuerus. 

63  Esther  confounds  Haman. 

64  Jonah  exhorts  the  Ninevites. 

65  Jonah  cast  into  the  Sea. 

66  Jeremiah  on  the  Ruins  of  Jeru¬ 

salem. 

PORTRAITS. 

67  David. 

68  Solomon. 

69  Isaiah. 

70  Ezekiel. 


71  Hagar. 

72  Ruth. 

73  Rachel. 

74  Rebekah. 

75  The  Wife  of  Potiphar. 

76  Pharaoh’s  Daughter. 

77  Deborah. 

78  Jephthah’s  Daughter. 

79  Delilah. 

80  Hannah. 

81  Abigail. 

82.  Jezebel. 

83  The  Queen  of  Sheba. 

84  Esther. 

85  Athalia. 

86  Judith. 

87  The  Mother  of  the  Maccabees. 

88  Sarah,  Wife  of  Tobias. 

ament  Illustrations. 
e,  $2.50. 

8  Flight  into  Egypt. 

9  Slaughter  of  the  Innocents. 

10  Christ  disputing  with  the  Doctors. 

11  John  preaching  in  the  Wilder 

ness. 

12  Baptism  of  Christ. 

13  Calling  of  Matthew. 

14  The  Wedding  at  Cana. 


9 


15  Christ  and  the  Samaritan  Woman. 

16  Christ  Preaching  on  the  Sea  of 

Galilee. 

17  Christ  Healing  the  Sick. 

18  The  Sermon  on  the  Mount. 

19  Christ  Stilling  the  Storm. 

20  Resurrection  of  the  Daughter  of 

Jairus. 

21  Christ  Walking  on  the  Water. 

22  The  Transfiguration. 

23  The  Good  Samaritan. 

24  The  Parable  of  the  Lost  Sheep. 

25  Lilies  of  the  Field. 

26  Christ  Healeth  the  Blind. 

27  The  Ten  Virgins. 

28  The  Door  was  Shut. 

29  The  Unmerciful  Servant. 

30  The  Prodigal  Son. 

31  Laborers  in  the  Vineyard. 

32  The  Wicked  Husbandmen. 

33  Lazarus  at  the  Gate. 

34  Pharisee  and  Publican. 

35  Christ  Blessing  Little  Children. 

36  The  Sick  of  the  Palsy  Cured. 

37  Resurrection  of  Lazarus. 

38  Christ  entering  Jerusalem. 

39  Mary  anointing  Jesus’  Feet. 

40  Christ  clearing  the  Temple. 

41  The  Tribute  Money. 

42  The  Poor  Widow’s  Two  Mites. 

43  Predicting  the  Destruction  of  Je¬ 

rusalem. 

44  The  Last  Supper. 

45  Washing  the  Disciples’  Feet. 

46  Judas’  Kiss. 

47  Jesus  in  the  Garden  of  Geth- 

semane. 

48  Jesus  before  Pilate. 

49  Peter’s  Denial. 


50  The  Flagellation. 

51  Christ  Crowned  with  Thorns. 

52  Christ  Insulted. 

53  Christ  bearing  his  Cross. 

54  The  Crucifixion. 

55  Descent  from  the  Cross. 

56  Burial  of  Christ. 

57  The  Three  Marys. 

58  Mary  Magdalen  at  the  Sepulchre. 

59  Christ  and  the  Disciples  at  Em- 

maus. 

60  Doubting  Thomas. 

61  Ascension. 

62  The  Pentecost. 

63  Conversion  of  Saul. 

64  Paul  at  Athens. 

65  Paul  at  Ephesus. 

66  St.  John’s  Vision  of  the  Celestial 

Jerusalem. 


PORTRAITS. 

67  Our  Saviour. 

68  Ecce  Homo. 

69  John  the  Baptist. 

70  St.  Matthew. 

71  St.  Mark. 

72  St.  Luke. 

73  St.  John. 

74  St.  Peter. 

75  St.  Paul. 

76  St.  Andrew. 

77  St.  Stephen. 

78  St.  Thomas. 

79  The  Child  Christ. 

80  Madonna  in  the  Chair. 

81  Madonna  San  Sixtus. 

82  Mater  Dolorosa. 


Class  III — Holy  Land  and  Egypt. 

PER  SLIDE,  $2.50. 


1  Jerusalem  from  the  Mount  of 

Olives. 

2  Enclosure  of  the  Temple  Area. 

3  Mosque  of  Omar. 

4  Mount  Zion  from  Hill  of  Evil 

Council. 

5  Mount  of  Olives  from  the  Wall. 

6  Tower  of  Hippicus. 


7  Church  of  the  Holy  Sepulchre 

8  Jews’  Place  of  Wailing. 

9  Arch  in  Via  Dolorosa. 

10  The  Golden  Gate. 

11  Garden  of  Gethsemane. 

12  Bethlehem. 

13  Etham,  near  Bethlehem. 

14  Fields  of  Bethany. 


10 


15  Hebron. 

16  Harem  at  Hebron. 

17  Ancient  Masonry  near  Hebron. 

18  Pool  at  Hebron. 

19  Pool  at  Siloam. 

20  Pool  of  Hezekiah. 

21  Solomon’s  Pool,  near  Bethlehem. 

22  Well  and  Remains  of  Pool  at 

Bethel. 

23  Well  near  Emmaus. 


24  Well  of  the  Virgin. 

25  Lake  of  Tiberias  from  Castle 

Saphet. 

26  Baths  and  City  of  Tiberias. 

27  Nazareth  towards  Esdraelon. 

28  Vale  of  Nazareth. 

29  Well  of  Nazareth. 

30  Ramleh,  with  the  Hills  of  Judea. 

31  Sidon  and  Mount  Lebanon. 

32  Hills  of  Samaria. 


JERUSALEM  FROM  THE  MOUNT  OF  OLIVES. 


Jerusalem  is  situated  at  an  elevation  of  nearly  2600  feet  above  the  level  of  the  Mediter¬ 
ranean,  on  the  crest  of  a  hill,  having  a  gentle  slope  towards  the  Mount  of  Olives,  so  that 
although  the  latter  is  only  some  150  feet  higher  than  the  city,  almost  every  building  is  dis¬ 
tinctly  visible  from  this  point.  The  two  eminences  are  separated  by  the  deep  valley  of 
Jehoshaphat,  in  the' basin  of  which  may  be  seen  the  Garden  of  Gethsemane,  now  inclosed 
with  a  stone  wall.  The  most  conspicuous  building  in  the  city  is  the  Mosque  of  Omar, 
which  (as  well  as  that  of  Aksa  to  its  left)  occupies  the  site  of  Solomon's  Temple.  This  area 
is  510  yards  long  by  318  yards  broad.  Much  of  it  is  seen  to  be  planted  and  adorned  with 
fountains,  &c.,  and  serves  as  a  promenade.  Admission  to  this  area  is  now  rigidly  forbidden 
to  Christians.  To  the  extreme  left  of  the  city,  and  without  its  walls,  is  Mount  Zion,  with 
the  tomb  of  David,  now  also  a  Mohammedan  mosque. 


11 


33  Mount  Hermon. 

34  Mount  Carmel. 

35  Mount  Tabor. 

36  Plain  Er  Raheh,  Mt.  Sinai. 

37  Mount  Hor. 

38  Mount  Nebo. 

39  The  Rock  of  Moses. 

40  Mount  Ararat. 

41  Sarepta. 

42  Rachel’s  Tomb. 

43  Tombs  in  the  Valley  of  Jehosha- 

phat. 

44  Tomb  of  the  Virgin. 

45  Halt  above  the  North  End  of  the 

Dead  Sea. 

46  Damascus. 

47  Scene  near  Ramleh. 

48  Arab  of  the  Desert. 

49  Arab  Camp. 

50  Interior  of  a  Caravansera. 

51  Range  of  the  Tombs,  Petra. 

52  Cmsarea. 

53  Fords  of  the  Jordan. 

54  Tarsus. 

55  Falls  of  the  Cydnus. 

56  Map  of  Palestine. 

57  Theatre  at  Ephesus. 

Class  IV— Ancient 

PER  SLII 

ANCIENT  GREECE. 

1  Plan  of  Athens. 

2  Ancient  Athens  restored. 

3  Ruins  of  Athens. 

4  The  Pyrseus. 

5  Mars  Hill. 

6  The  Philosopher’s  Garden. 

7  Ruins  of  the  Parthenon. 

8  The  Parthenon  restored. 

9  Temple  of  Jupiter,  at  Olympia. 

10  Oracle  at  Delphi. 

11  Sacrifice  to  Neptune. 

12  Sacrifice  to  Mars. 

13  Statue  of  Pallas  Athenae. 

14  Olympian  Games. 

15  Grecian  Warriors. 

16  Grecian  Chariot. 

17  Grecian  Dwelling  (interior). 

18  Grecian  Ceremony  before  Mar¬ 

riage. 

19  The  Areopagus. 

20  The  Assembly  of  the  Gods. 


58  Ruins  of  Persepolis. 

59  Ruins  of  Babylon. 

60  Ruins  of  Balbec. 

EGYPT. 

61  Ferry  at  Old  Cairo. 

62  Street  in  Cairo. 

63  The  Shadoof. 

64  Nile  Boat. 

65  Pyramids  and  Sphinx. 

66  The  Simoon. 

67  Approach  to  Karnac. 

68  Karnac. 

69  Columns  of  Gi*and  Hall,  Karnac. 

70  Colossi  of  the  Plains. 

71  Obelisk  and  Propylon  Luxor. 

72  Colossal  Statue  of  Rameses  the 

Great,  at  the  Memnonum. 

73  Approach  to  Philoe. 

74  View  from  Philoe. 

75  Sculptured  Gateway,  Philoe. 

76  Pharaoh’s  Bed,  Philoe. 

77  Portico  of  Tern.  Kalabshe,  Nubia. 

78  Tombs  of  Memlook  Kings,  Cairo. 

79  Pylon  of  the  Temple  of  Edfou. 

80  Monument  of  Heliopolis. 

Greece  and  Rome. 

>e,  $2.50. 

ANCIENT  ROME. 

21  Map  of  Rome. 

22  Ruins  of  Rome. 

23  Trajan’s  Arch. 

24  Roman  Cavalry. 

25  War  Elephant. 

26  War  Engines. 

27  Victorious  General  thanking  his 

Army. 

28  Prisoners  passing  under  the  Yoke. 

29  Roman  Triumph. 

30  Captives  in  the  Forum. 

31  Gladiators  at  the  Theatre. 

32  Gladiators  at  Funerals. 

33  Sea  Fight. 

34  Roman  Feast. 

35  The  Coliseum. 

36  Section  of  Coliseum. 

37  Wild  Beasts  and  Victims  in  the 

Coliseum. 

38  Sacrifice  in  Rome. 

39  Temple  of  the  Sun  in  Rome. 

40  Funeral  of  an  Emperor. 


12 


Class  V — Complete  Illustrations  to  the  Text  of  the  Holy 

Bible. 

PER  SLIDE,  $1.50. 


BIBLICAL  ANTIQUITIES. 

EGYPTIAN. 

1  Ancient  Cymbals,  &c. 

2  Ancient  Egyptian  Armlets. 

3  Ancient  Egyptian  Doors. 

4  Ancient  Egyptian  Scales. 

5  Ancient  Egyptian  Seats. 

6  Body  of  Archers. 

7  Bowing  before  a  Public  Officer. 

8  Brickmaking. 

9  Carrying  Corn. 

10  Chairs. 

11  Couches. 

32  Culinary  Vessels. 

13  Dandour. 

14  Denderah. 

15  Drawers  and  Girdle. 

16  Earrings  of  Men. 

17  Edfou. 

18  Egyptian  Amulets. 

19  Egyptian  Entertainment. 

20  Egyptian  Instrument. 

21  Egyptian  King  on  his  Throne. 

22  Egyptian  Lady. 

23  Egyptian  Lamps. 

24  Egyptian  Vessels  of  Elegant  Form 

25  Egyptian  with  a  Tray  of  Meats. 

26  Ephod  and  Censer. 

27  Ephod  and  Girdle. 

28  Ethiopian  Car  drawn  by  Oxen. 

29  Fauteuils. 

30  Harp. 

31  Luxor. 

32  Man-servant. 

33  Metal  Door-pins. 

34  Mitres. 

35  Mummy. 

36  Mummy  Case  and  Marble  Sar¬ 

cophagi. 

37  Overseer  of  Cattle. 

38  Priestesses. 

39  Bing  Money. 

40  Bock-cut  Temple,  Ipsambul. 

41  Scarabaei — Back  and  Side  Views. 

42  Scarabaei — Engraved  under-sur¬ 

faces. 


43  Scribe. 

44  Ship. 

45  Side  View  of  Memnon. 

46  Signet  Bings  of  Ancient  Egypt. 

47  Sistrums. 

48  Sphinx  and  Pyramids. 

49  Statue  of  Egyptian  Lady. 

50  Stewards. 

51  Stringed  Instruments. 

52  Tambourine  Players. 

53  Theban  Statue. 

54  Thrones. 

55  Water  Bearers. 

56  Windows. 

57  Wine-press. 

58  Worker  in  Iron. 


JEWISH. 

59  Altar  of  Burnt  Offering. 

60  Altar  of  Incense. 

61  Booths. 

62  Burnt  Offering. 

63  Costume  of  High  Priest. 

64  Costume  of  a  Priest. 

65  Meat  Offering. 

66  Ox- horn  Blower. 

67  Peace  Offering. 

68  Priests  Sounding  an  Alarm. 

69  Setting  up  the  Tabernacle. 

70  Sin  Offering. 

71  Solomon’s  Throne. 

72  Supposed  Form  of  the  Laver. 

73  Table  of  Shew-Bread. 

74  The  Golden  Candlestick. 

75  The  Princes’  Offering. 

76  Trespass  Offering  of  the  Poor. 

77  Alabaster  Boxes. 

78  Alexander  the  Great. 

79  Ancient  Battering  Bam. 

80  Ancient  Shadoof. 

81  A  Phoenician  Sarcophagus. 

82  Ark  borne  by  Priests. 

83  Balista  prepared  for  the  Dis¬ 

charge  of  a  Stone. 

84  Bas-relief  from  the  Arch  of  Titus. 

85  Captive  Jews. 


13 


86  Catapulta  prepared  for  the  Dis¬ 

charge  of  an  Arrow. 

87  Censers. 

88  Chamber  on  the  Wall. 

89  Coin  of  Agrippa  (Copper). 

90  Coin  of  Archelaus  (Copper). 

91  Coin  of  Augustus. 

92  Coin  of  Claudius. 

93  Coin  of  Nero. 

94  Coin  of  Tiberius. 

95  Coin  of  Titus. 

96  Cuirass. 

97  Daggers. 

98  Demi-Shekel  (Copper). 

99  Double  Flutes,  Greek. 

100  Eastern  Tables. 

101  Eastern  Writing  Material. 

102  Escape  from  a  Window. 

103  Garden  Bedstead. 

104  Garden  House. 

105  Gods  of  Wood. 

106  Group  of  Altars. 

107  Helmets. 

108  Insignia  of  Office. 

109  Interior  of  the  Portico  of  the 

Great  Temple  of  Denderah. 

110  Judaea  Capta. 

111  King  on  Throne,  with  Attend¬ 

ants. 

112  Metal  Mirrors. 

113  Nimrod. 

114  Nisroch. 

115  Palm  Bedstead. 

116  Persian  Armlets. 

117  Persian  Torch  and  Lantern. 

118  Pillows  of  Stone  and  Wood. 

119  Quarter-Shekel  (Copper). 

120  Roman  Judgment-Seat. 

12 1  Roman  Lantern  and  Flambeaux. 

122  Sandals. 

123  Shekel  of  Copper. 

124  Shekel  of  Silver. 

125  Ship,  from  a  Painting  at  Pom¬ 

peii. 

126  Shrine  with  Idol. 

127  Spoons. 

128  Statue  of  Cyrus. 

129  Sun  Dial. 

130  Teraphim. 

131  The  Ckumarah. 

132  The  Great  King. 

133  Tower  in  the  Desert. 

134  Winged  numan-headed  Bull. 

135  Writing  Materials. 


MANNERS  AND  CUSTOMS. 

136  A  Musical  Procession. 

137  An  Oriental  Migration. 

138  Application  to  a  Santon. 

139  Arab  Encampment. 

140  Arab  Female. 

141  Arab  Horde  coming  to  a  Halt. 

142  Bargaining  for  a  Slave. 

143  Caravansera. 

144  City  Gate. 

145  Cup  Bearers. 

146  Dance  with  Timbrels. 

147  Drawing  Water  from  the  Nile. 

148  Eastern  Forms  of  Obeisance. 

149  Eastern  House. 

150  Eastern  Housetops. 

151  Eastern  Potter. 

152  Eastern  Prince. 

153  Eastern  Princess. 

154  Egyptian  Foot  Soldiers. 

155  Egyptian  Soldiers. 

156  Egyptian  War  Chariots. 

157  Egyptian  Worship. 

158  Feast  of  Passover. 

159  Feast  of  Tabernacles. 

160  Female  Mourners  at  Tomb. 

161  Giving  Water  from  Leathern 

Bottles. 

162  Grecian  Warrior  in  Armor. 

163  Greek  Worshipping  with  Head 

Uncovered. 

164  Hand-mill. 

165  Interior  of  the  Tomb  of  the 

Kings  at  Jerusalem. 

166  Jewish  Physician. 

167  Lady  with  Face-veil. 

168  Marriage  Procession  of  a  Bride. 

169  Marriage  Procession  of  a  Bride¬ 

groom. 

170  Market  at  Gate. 

171  Monumental  Pillars. 

172  Mourner  at  Tomb. 

173  Musical  Entertainment. 

174  Oriental  Cart. 

175  Oriental  Shepherds. 

176  Ornamentsof  Egyptian  Females. 

177  Painted  Eyes. 

178  Potter  at  Work. 

179  Pouring  Wine  from  Leathern 

Bottle. 

180  Praying  with  the  Head  Cov¬ 

ered. 

181  Raising  Water. 


14 


182  Raising  Water  by  the  Ckutweh. 

183  Reading  the  Law. 

184  Rock-cut  Tomb. 

185  Roman  Centurion. 

186  Roman  Consul. 

187  Roman  Eagle. 

188  Roman  Lictor. 

189  Roman  Soldiers. 

190  Sackcloth. 

191  Saddled  Asses. 

192  Searching  for  Leaven. 

193  Shaving  the  Head. 

194  Sheepfold. 

195  Stones  of  Memorial. 

196  The  Taboot. 

197  Threshing  by  Animals. 

198  Threshing  by  the  Drag. 

199  Threshing  by  the  Sledge. 

200  Throwing  a  Javelin. 

201  Walking  Wrapper. 

202  Warrior  and  Armor-Bearer. 

203  Washing  Hands. 

204  Water  Carriers. 

205  Women  of  Priestly  Families. 

206  Women  on  Camels. 

207  Women  Wearing  the  Tob. 


BIBLICAL  SCENERY. 

208  Absalom’s  Tomb. 

209  Aceldama. 

210  Adjeroud. 

211  Alexandria. 

212  Amphitheatre  near  Tiberias. 

213  Anathoth. 

214  Antioch. 

215  Aqueduct  of  Jericho. 

2 J  6  Arch  of  Titus,  Rome. 

217  Ascalon. 

218  Ashdod. 

219  Assyrian  Grave  Tower,  Lebanon. 

220  A  View  of  Petra  in  Wady  Mousa. 

221  Baalbec. 

222  Banias. 

223  Bazaar  in  Damascus. 

224  Bazaar  in  Jaffa. 

225  Bethany. 

226  Bethel. 

227  Bethlehem. 

228  Beyrout. 

229  Birs  Nimrod,  Babylon. 

230  Bringing  First-fruits  to  Jerusa¬ 

lem. 


Carmel. 

Castle  of  Sion. 

Cave  at  Benias. 

Caves  in  the  Cliffs  of  Wady 
Mousa,  Mount  Seir. 

Cave  under  the  Temple  Hill. 
Cedars  of  Lebanon. 

Chapel  of  the  Burning  Bush. 
Church  of  the  Holy  Sepulchre, 
Jerusalem. 

Church  of  the  Nativity. 

Church  Ruin  at  El’Bire. 

Citadel  on  Site  of  Ft.  Antonio. 
Colosse. 

Corinth. 

Damascus. 

Daniel’s  Grave  at  Susa. 
Egyptian  Monuments. 

Egyptian  Temple. 

Elath. 

Elias’s  Grotto  on  Mt.  Carmel. 
Emmaus. 

Garden  of  Gethsemane. 

Gaza. 

Gibea. 

Gibeon. 

Graveyard  in  Sidon. 

Grave  of  Joseph  of  Arimathea. 
Harvest  in  Palestine. 

Hebron,  with  the  Grave  of  Mach- 
pelah. 

Hermon,  from  Meromsee. 
Interior  of  Coliseum,  Rome. 
Interior  of  Convent,  Mar  Saba. 
Interior  of  the  Holy  Sepulchre. 
Isaiah’s  Grave. 

Jacob’s  Bridge. 

Jaffa. 

Jaffa  Gate,  Jerusalem. 
Jerusalem,  from  Scopus. 
Jerusalem  from  the  North. 
Jews’  Place  of  Wailing,  Jeru¬ 
salem. 

Jews’  Quarter,  Jerusalem. 
Jezreel. 

Joseph’s  Grave. 

Kaipha. 

Kirjath-jearim. 

Lake  of  Gennesaret. 

Laodicea. 

Lydda. 

Magdala. 

Malta. 

Mars’  Hill,  Athens. 


231 

232 

233 

234 

235 

236 

237 

238 

239 

240 

241 

242 

243 

244 

245 

246 

247 

248 

249 

250 

251 

252 

253 

254 

255 

256 

257 

258 

259 

260 

261 

262 

263 

264 

265 

266 

267 

268 

269 

270 

271 

272 

273 

274 

275 

276 

277 

278 

279 

280 


15 


281  Mosque  of  Omar,  Jerusalem. 

282  Mount  Ararat. 

283  Mount  Hor. 

284  Mount  of  Olives  from  Jerusalem. 

285  Mounts  Ebal  and  Gerizim. 

286  Mount  Serbal. 

287  Mount  Tabor. 

288  Nablous,  the  Ancient  Shechem. 

289  Nain. 

290  Nazareth. 

291  Nineveh. 

292  Noah’s  Grave  in  Armenia. 

293  Noph. 

294  Old  Jewish  Tower. 

295  On,  or  Heliopolis. 

296  Patmos. 

297  Pergamos. 

298  Pharaoh’s  Palace. 

299  Philadelphia. 

300  Philip’s  Well. 

301  Pilgrim’s  Pool,  Succoth. 

302  Plain  of  Jericho. 

303  Pool  of  Bethesda. 

304  Pool  of  Gihon. 

305  Pool  of  Hezekiah. 

306  Pool  of  Siloam. 

307  Pools  of  Solomon. 

308  Ptolemais. 

309  Rachel’s  Grave. 

310  Rama  (Arimathea). 

311  Remains  of  Ancient  Temple 

Bridge. 

312  Rhodes. 

313  River  Jobbok. 

3 !  4  Rock  of  Moses. 

315  Rock  Valley  in  the  Vicinity  of 

Petra. 

316  Roman  Bridge,  Lysanias. 

317  Rome. 

318  Ruins  of  Ammon. 

319  Ruins  of  Caesarea  in  Palestine. 

320  Ruins  of  Gadara. 

321  Ruins  of  the  Forum  at  Rome. 

322  Ruins  of  the  Palace  of  Nero, 

Rome. 

323  Ruins  of  Tyre. 

324  Safed. 

325  Samaria,  Sebaste. 

326  Samaritan  Synagogue. 

327  Sardis. 

328  Sarepta. 

329  Shiloh. 

330  Sidon. 

331  Smyrna. 


332  St.  John’s  Hospital,  Acre. 

333  St.  Peter’s,  Rome. 

334  Suez. 

335  Summit  of  Mount  Sinai. 

336  Tadmor,  Palmyra. 

337  Tarsus. 

338  Terrace  Cultivation. 

339  The  Coliseum,  Rome. 

340  The  Dead  Sea. 

341  The  Grave  of  David. 

342  The  Holy  Sepulchre. 

343  The  Jordan  leaving  the  Lake  of 

Tiberias. 

344  The  Mamertine  Prison,  Rome. 

345  The  Mujelibe,  Babylon. 

346  The  River  Jordan. 

347  The  Written  Rocks,  Wady  Mo- 

katteb. 

348  Thyatira. 

349  Tiberias. 

350  Tomb  at  Petra. 

351  Tomb  of  Ezra. 

352  Tomb  of  Mordecai. 

353  Tomb  of  the  Kings. 

354  Tower  of  David,  Jerusalem. 

355  Tower  of  St.  Paul  in  Damascus. 

356  Tyre. 

357  Urfah,  supposed  Ur  of  the 

Chaldees. 

358  Valley  and  Convent  of  Sinai. 

359  Valley  of  Gihon. 

360  Valley  of  Jehoshaphat. 

361  Vaults  beneath  Solomon’s  Tem¬ 

ple. 

362  Vestibule  within  the  Golden 

Gate. 

363  Vivia  Dolorosa. 

364  View  in  the  Land  of  Moab. 

365  View  of  a  Portion  of  the  Ruins 

of  Petra. 

366  View  on  the  Euphrates. 

367  View  on  the  Nile. 

368  Watered  Garden. 

369  Well  at  Cana. 

370  Well  of  the  Virgin. 

371  Wells  of  Moses. 


BIBLICAL  NATURAL  HISTORY. 

BEASTS. 

372  Asses 

373  Bat, 

374  Bear. 

I  375  Beaver. 


16 


376  Camels. 

377  Chameleon. 

378  Common  Dormouse. 

379  Coneys. 

380  Dark-banded  Jerboa. 

381  Dogs. 

382  Dromedary. 

383  Egyptian  Fox. 

384  Elephant. 

385  Four-horned  Earn. 

386  Gazelles. 

387  Greyhound. 

388  Hippopotamus. 

389  Jackals. 

390  Lion. 

391  Lioness  and  Whelps 

392  Onyx. 

393  Sheep. 

394  Syrian  Leopard. 

395  Syrian  Ox,  Camel,  and  Ass. 

396  Wild  Ass. 

397  Wolf. 

BIRDS. 

398  Bee-eater. 

399  Collared  Turtle. 

400  Cormorant. 

401  Hawk. 

402  Heron. 

403  Hoopoe. 

404  Ibis. 

405  Osprey. 

406  Owl. 

407  Partridge. 

408  Pelican. 

409  Quail. 

410  Sea  Swallow. 

411  Shoveller. 

412  Stork. 

413  Swallow  of  Palestine. 

414  Syrian  Dove. 

415  The  Aquiline  Vulture. 

416  The  Crane. 

417  The  Eagle. 

418  The  Flamingo. 

419  The  Katta. 

420  The  Ostrich. 

REPTILES  AND  INSECTS. 

421  Crocodile. 

422  Egyptian  Frogs. 

423  Emperor  Boa. 


424  Hornet. 

425  Lacerta  Gecko. 

426  Lacerta  Sineus. 

427  Lacerta  Stellio. 

428  Locust. 

429  Scorpion. 

TREES  AND  PLANTS. 

430  Almond  Tree. 

431  Apples  of  Sodom. 

432  Balm  of  Gilead. 

433  Bitter  Cucumber. 

434  Black  Fig  Tree. 

435  Box  Tree. 

436  Cactus. 

437  Carob. 

438  Cinnamon. 

439  Cluster  of  Dates. 

440  Cone  of  the  Pine. 

441  Coriander. 

442  Cypress. 

443  Darnel. 

444  Date  Palm. 

445  Dourra. 

446  Ears  of  Wheat. 

447  Figs. 

448  Fig  Leaves. 

449  Fitches. 

450  Frankincense. 

451  Gopher  Tree. 

452  Gourd. 

453  Grapes. 

454  Hennah  Plant. 

455  Holy  Bramble. 

456  Husks. 

457  Hyssop. 

458  Jasmine. 

459  Jonah’s  Gourd. 

460  Juniper. 

461  Lentiles. 

462  Lily. 

463  Mandrakes. 

464  Mustard. 

465  Nuts. 

466  Oleander. 

467  Olive  Branch  with  Fruit. 

468  Olive  Tree. 

469  Orange  Tree. 

470  Palm  Tree. 

471  Plane  Tree. 

472  Pomegranate. 

473  Prickly  Oak. 

474  Reeds. 


IT 


475  Rice. 

476  Rose  of  Jericho. 

477  Rose  of  Sharon. 

478  Sea-goose  Foot. 

479  Sesamum  Oriental. 

480  Stone  Pine  Tree. 

481  StrawberryTree. 

482  Sycamore. 

483  Sycamore  Figs. 

484  Tamarisk  Tree. 

485  Terebinth. 

486  Thorn. 

487  White  Mulberry  Tree. 

488  Wormwood. 


MAPS,  Ac. 

489  Canaan  in  possession  of  the 

Twelve  Tribes. 

490  Geography  of  the  Hebrews. 

491  Journeys  of  the  Children  of 

Israel. 

492  Plan  of  Jerusalem,  Ancient. 

493  Plan  of  Jerusalem,  Modern. 

494  Palestine,  to  illustrate  the  New 

Testament. 

495  Travels  of  St.  Paul  in  Asia  and 

Europe. 


Class  VI — Views  of  Interest  in  different  parts  of  the  World. 

PER  SLIDE,  $2.50. 


ENGLAND. 

1  The  New  House  of  Parliament, 

London. 

2  Windsor  Castle. 

3  The  Horse  Guards. 

4  Greenwich  Hospital. 

SCOTLAND. 

5  Interior  of  Holyrood  Chapel. 

6  Melrose  Abbey. 

7  Balmoral  Castle. 

8  Fountain’s  Abbey. 

IRELAND. 

9  Askeaton  Abbey. 

10  Adare  “ 

11  Furness  ‘  ‘ 

12  Muckross  “ 

13  Castle  and  Town  of  Glenarm. 

14  The  Custom  House  at  Limerick. 

15  Thodmongate  Bridge,  “ 

16  The  Coleraine  Salmon  Lake. 

17  Dunluce  Castle,  County  Antrim. 

18  View  of  Londonderry. 

19  Walker’s  Monument,  London¬ 

derry. 

20  The  Green  Linen  Market,  Belfast. 

21  High  Street,  lt 

22  Black  Rock  Castle,  County  Cork. 

23  Statue  of  George  II,  “ 

24  Cove  Harbor,  “ 

25  Cork  River. 


26  Merchant  Quay,  Cork. 

27  Blarney  Castle. 

28  Trinity  College,  Dublin. 

29  College  Street,  “ 

30  Parliament  Square,  “ 

31  The  King’s  Bridge,  “ 

32  St.  Peter’s  Chapel,  “ 

33  The  Four  Courts,  “ 

34  The  Bank  of  Ireland. 

35  Court-Yard,  Dublin  Castle. 

36  Castle  Kilkenny,  County  Dublin. 

37  Belfry  and  Church  of  Swords, 

near  Dublin. 

38  Dunmore  Pier,  Waterford. 

39  Lismore  Castle,  ‘  ‘ 

40  Inchmore  Castle,  Co.  Kilkenny. 

41  Kilkenny  Castle. 

42  The  Old  Abbey  at  Sligo. 

43  The  Boyne  Water. 

44  The  Upper  Lake  of  Killarney. 

45  The  Lower  Lake  of  Killarney. 

46  Innisfallen. 

47  Queenstown  Harbor. 

48  Carrie  Fergus  Castle. 

49  The  Seven  Churches  of  Clonma- 

noise. 

50  Abbey  of  the  Holy  Cross,  Tip¬ 

perary. 

51  Ballanahinels. 

52  Enchanted  Isles. 

53  Giant’s  Causeway. 

54  Cave  at  Giant’s  Causeway. 

55  Fingal’s  Cave. 


2 


18 


FRANCE. 

56  Cathedral  of  Amiens. 

57  Abbeville  Cathedral. 

58  Castle  of  Ambrose. 

59  Cathedral  of  St.  Bovon. 

60  View  of  Rouen. 

61  Palace  of  Justice,  Rouen. 

62  Cathedral  of  Rouen. 

63  Chapel  of  Vincennes,  Lyons. 

64  Strasbourg  Cathedral. 

65  Market  Place,  Liege. 

66  The  Exchange,  Paris. 

67  Theatre  de  l’Opera  Comique, 

Paris. 

68  Dome  des  Invalides,  Paris. 

69  The  Pantheon,  “ 

70  Hotel  de  Ville, 

71  Flower  and  Shrub  Market,  Paris. 

72  The  Elysian  Fields, 

73  Val  de  Grace  Church, 

74  Luxembourg  Palace,  “ 

75  Jardin  Mabille,  “ 

76  Cathedral  of  Notre  Dame,  “ 

77  Place  de  la  Concorde,  “ 

78  Arc  de  Triomphe  del’Etoile,  “ 

79  Chateau  des  Fleurs,  “ 

80  Monument  in  Pere  la  Chaise,  “ 

81  Perigneux  Pyranees,  “ 

SPAIN. 

82  Fountain  at  Madrid. 

BELGIUM. 

83  Town  Hall,  Antwerp. 

84  Town  Hall,  Bruges. 

85  Church  of  St.  Salvador,  Bruges. 

86  Cormayer,  Valley  of  Aosta,  Pied¬ 

mont. 

ITALY. 

87  Amalfi. 

88  Arch  of  Trajan,  Ancona. 

89  View  of  Florence. 

90  View  of  Naples. 

91  Villa  Royal,  Naples. 

92  Villa  Doria,  Genoa. 

93  View  of  Palermo. 

94  Palazzo  Reali,  Palermo. 

95  Lake  of  Como. 

96  Convent  of  St.  Martino. 

97  Lake  of  Lugano. 

98  Leaning  Tower  of  Pisa. 

99  Grotto  di  Posilipo. 


Milan  Cathedral. 

St.  Peter’s,  Rome. 

Interior  of  St.  Peter’s,  Rome. 
Castle  of  St.  Angelo. 

Tivoli  Falls,  near  Rome. 
Coliseum. 

Arch  of  Trajan. 

Porta  Maggiorie. 

St.  Mark’s,  Venice. 

The  Bucentaur. 

Bridge  of  Sighs. 

Sciila  and  Charybdis,  Sicily. 
Mt.  iEtna. 

Port  of  Messina. 

Duomo  of  Syracuse. 

Valetta,  Island  of  Malta. 

View  of  Prague,  Bohemia. 
Ruins  of  Donanstauf,  on  the 
Danube. 

TURKEY. 

The  Sultan’s  Palace,  Constanti¬ 
nople. 

Street  Scene,  Constantinople. 

GERMANY. 

View  of  Mayence,  on  the  Rhine. 
Fortress  of  Konigstein,  near 
Dresden. 

Courtyard  at  Heidelberg. 

View  of  Freiburg. 

Freiburg  Cathedral. 

Interior  of  Wartburg  Chapel. 
Baden-Baden. 

Lake  of  Ploen. 

The  Falls  of  the  Rhine. 

Church  of  the  Knights  Templar 
Luz. 

Castle  Bronnen. 

SWITZERLAND  AND  TYROL. 

Trent,  Tyrol. 

View  of  Thun,  Switzerland. 
Meirengen. 

Mount  St.  Bernard. 

Castle  Klam  on  the  Oberinu 
River,  Tyrol. 

View  on  the  Alps  in  Steiermark, 
Moonlight  Effect. 

Winter  View  on  the  Alps,  neat 
Meiringen. 

The  Lake  of  the  Four  Cantons, 
Switzerland. 


100 

101 

102 

103 

104 

105 

106 

107 

108 

109 

110 

111 

112 

113 

114 

115 

116 

117 

118 

119 

120 

121 

122 

123 

124 

125 

126 

127 

128 

129 

130 

131 

132 

133 

134 

135 

136 

137 

138 


19 


139  The  Lake  of  Luzerne. 

140  View  in  the  Alps. 

141  View  on  the  River  Gossou,  in 

Tyrol. 

142  View  on  the  River  Inn. 

143  View  near  Inspruk,  Tyrol. 

144  View  in  the  High  Alps — Ty¬ 

rolese  Gems-Hunters. 

145  The  Fountain  at  Salzburg. 

146  On  the  Konigs-Lake,  Tyrol. 

147  View  near  Berechtsgaden,  Tyrol 

148  View  near  the  Martinswand, 

Tyrol — Winter. 

149  View  near  Salzburg,  Tyrol — 

Summer. 

150  View  of  the  Lake  of  Thun, 

Switzerland. 

151  Entrance  to  Meran,  Tyrol. 

152  View  near  Salzburg,  Tyrol. 

153  View  of  a  Tyrolese  Cottage, 

near  Salzburg. 

154  View  near  Aussee,  Tyrol. 

155  Interior  View  of  an  Alpine 

Shanty  in  Tyrol. 

156  The  Lake  of  Brienz. 

157  Graubunden  Lake. 

158  Lake  of  Interlaken,  Tyrol. 

159  Interior  of  an  Alpine  Cow-house. 

160  Lake  of  Gmunden,  Tyrol. 

161  Cottage  in  the  Alps,  near  Snow- 

cap  Mountain. 

162  View  of  the  River  Inn,  Tyrolese 

Alps. 

163  Castle  of  Wolfstein,  in  Tyrol. 

164  TyroleseVillageinthe  Lowlands, 

Winter  Scene. 

165  Tyrolese  Farmers  at  Work,  un¬ 

loading  Hay. 


INDIA. 

166  The  Hill  Fortress  of  Gwalioz. 

167  The  Residency,  Lucknow. 

168  Mosque  Mounher,  Hindostan. 

CHINA. 

A  series  of  views  from  original  sketches, 
by  Thomas  Allom,  Esq. 

169  Chinese  Cemetery,  near  Pekin. 

170  Temple  of  Buddha,  Canton. 

171  Raree  Show  at  Lin-sin-choo. 


Feeding  Silk  Worms  and  sorting 
Cocoons. 

Apartment  in  a  Mandarin’s 
House,  near  Nanking. 

Chinese  Cat  Merchants. 

Rice  Merchants  at  the  Military 
Station  of  Tong-chang-foo. 

Canton  Barge-men  fighting 
Quails. 

Destroying  the  Chrysalides  and 
Reeling  the  Cocoons. 

Dyeing  and  Winding  Silk. 

Playing  at  Shuttlecock  with  the 
Feet. 

Chinese  Sacrifice  to  the  Harvest 
Moon. 

An  Itinerant  Barber. 

Chinese  Opium  Smokers. 

Chinese  Marriage  Procession. 

A  Devotee  consulting  the  Sticks 
of  Fate. 

Great  Temple  at  Honan,  Canton. 

A  Mandarin  paying  a  visit  of 
Ceremony. 

Scene  from  the  Spectacle  “the 
Sun  and  Moon.” 

Porcelain  Tower,  Nanking. 

Show  Room  of  a  Lantern  Mer¬ 
chant  at  Peking. 

Punishment  of  the  Cangue,  at 
Ting-hai. 

A  Street  in  Canton. 

An  Itinerant  Doctor  at  Tien- 
sing. 

Kite  Flying  at  Hae-kwan. 

Ceremony  of  meeting  the  Spring. 

The  Imperial  Travelling  Palace 
at  Hoo-kew-shan. 

The  Bridge  of  Nanking. 

West  Gate  of  Ching  Keang  Foo. 

A  Tartar  of  the  Chinese  Army. 

The  Tiger  Guard. 

Policeman  and  Prisoner. 

Punishment  of  the  Bastinado. 

Punishment  of  the  Bamboo. 

Chinese  Punishment  of  the  Rack 

Street  Punishment. 

Chinese  Barber. 

Cleaning  Cotton. 

The  Kin-shan  or  Golden  Island. 

The  Rev.  Robert  Morrison  and 
his  assistants  in  the  transla¬ 
tion  of  the  Bible  into  Chinese. 


172 

173 

174 

175 

176 

177 

178 

179 

180 

181 

182 

183 

184 

185 

186 

187 

188 

189 

190 

191 

192 

193 

194 

195 

196 

197 

198 

199 

200 

201 

202 

203 

204 

205 

206 

207 

208 


20 


AMERICA. 

209  Cape  Horn. 

210  The  Dome,  Yosemite  Valley,  Cal. 

211  The  Three  Brothers,  Yosemite 

Valley,  California. 

212  Cathedral  Spires,  Yosemite  Val¬ 

ley,  California. 

213  The  Vernal  Falls,  Yosemite 

Valley,  California. 

214  Bridal  Veil  Falls,  Yosemite  Val¬ 

ley,  California. 

215  Grizzly  Giant  Tree. 

216  Pacific  R.  R.  Track  on  the 

Rocky  Mountains. 

217  The  Rio  Grande,  near  Frontera. 

218  Monument  Mountains,  Rocky 

Mountains. 

219  The  Organ  Mountains,  New 

Mexico. 

220  Spanish  Peaks,  New  Mexico. 

221  Fort  Laramie. 

222  The  Wind  River  Mountains. 

223  Fort  Smith,  Arkansas. 

224  Pend  d’Oreille  Mission,  Rocky 

Mountains. 

225  The  Garden  of  the  Gods,  Rocky 

Mountains. 

226  Fight  with  a  Grizzly  Bear  in 

the  Rocky  Mountains. 

227  Ball-play  Dance  of  Camanche 

Indians. 

228  Archery  of  Mandan  Indians. 

229  A  Buffalo  Hunt — Surround. 

230  Camanche  Indians  at  Ball¬ 

playing. 

231  Buffalo  Hunt — The  Chase. 


232  Three  Camanche  Indians — Ball¬ 

players. 

233  Buffalo  Hunt — the  Near  Chase. 

234  Wild  Horses  at  Play. 

235  Antelope  Shooting — the  Ambus¬ 

cade. 

236  Encampment  on  the  Plains 

during  a  “  Norther.” 

237  The  War  Dance  of  Camanche 

Indians. 

238  Encampment  surprised  by  In¬ 

dians. 

239  White  Wolves  attacking  a  Buf¬ 

falo  Bull. 

240  Catching  the  Wild  Horse. 

241  A  Buffalo  Chasing  Back. 

242  The  Capitol,  Washington,  D.  C. 

243  The  White  House,  “  “ 

244  U.  S.  Treasury  Building,  Wash¬ 

ington,  D.  C. 

245  IJ.  S.  General  Post  Office. 

246  U.  S.  Patent  Office. 

247  General  View  of  Washington 

from  the  Capitol. 

248  Washington’s  Tomb,  Mt.  Ver¬ 

non,  Va. 

249  Washington’s  Residence,  Mt. 

Vernon,  Va. 

250  View  up  Broadway  from  Herald 

Office. 

251  West  Point  from  Garrison’s. 

252  General  View  of  Niagara  Falls. 

253  William  Penn’s  Cottage,  Letitia 

Court,  Philadelphia,  from  old 
engravings. 

254  Continental  Hotel,  Phila. 

255  Independence  Hall,  “ 


Class  VII — Illustrations  of  Important  Events  in  American 
History. 

PER  SLIDE,  $2.50. 


1  Landing  of  Columbus. 

2  Marriage  of  Pocahontas. 

3  Embarkation  of  the  Pilgrim 

Fathers. 

4  English  Puritans  Escaping  to 

America. 

5  Landing  of  the  Pilgrims. 

6  Landing  of  Hendrick  Hudson. 

7  Landing  of  Roger  Williams. 

8  Elliott,  the  first  Indian  Mission¬ 

ary. 


9  William  Penn  Treating  with  the 
Indians. 

10  Washington  Raising  the  British 

Flag  at  Fort  Duquesne. 

11  Patrick  Henry  in  the  Virginia 

Assembly. 

12  Washington,  Henry,  and  Pendle¬ 

ton  going  to  the  first  Congress. 

13  First  Prayer  in  Congress. 

14  Surprise  of  Ticonderoga. 

15  Washington  leaving  for  the  Army. 


21 


16  Washington  taking  Command  of 

the  Army,  1775. 

17  Putnam  leaving  the  Plough. 

18  Battle  of  Bunker  Hill,  1775. 

19  Drafting  of  the  Declaration  of 

Independence. 

20  Declaration  of  Independence. 

21  Surrender  of  Burgoyne. 

22  Putnam’s  Escape. 

23  Washington  cross’gthe  Delaware. 

24  Treason  of  Arnold. 

25  Capture  of  Major  Andre. 

26  Surrender  at  Yorktown. 

27  Com.  Perry  at  the  Battle  of  Lake 

Erie. 

28  General  Taylor  at  Buena  Yista. 

29  General  Scott  at  Contreras. 

30  Bombardment  of  Fort  Sumter. 

31  Soldier’s  Dream. 

32  Monitor  driving  the  Merrimac. 

33  Picket  duty  on  the  Potomac. 

34  The  First  Beading  of  the  Emanci¬ 

pation  Proclamation.  By  Car¬ 
penter. 

35  Gen.  Sherman  entering  Savan’h. 

36  Union  Army  enters  Petersburg. 

37  Assassination  of  Pres’t  Lincoln. 

38  Apotheosis  of  Abraham  Lincoln. 

39  American  Eagle. 


PORTRAITS  OP  DISTINGUISHED 
AMERICANS. 

40  George  Washington,  by  Stuart. 

41  “  “  by  Peale. 

42  Martha  Washington. 

43  John  Adams,  2d  Pres.  U.  S. 

44  Thomas  Jefferson,  3d  “  “ 

45  James  Madison,  4th  “  “ 

46  James  Monroe,  5th  “  “ 


47  John  Q.  Adams,  6th  Pres.  U.  S. 

48  Andrew  Jackson,  7th  “ 

49  Martin  Van  Buren,  8tb  “ 

50  General  Harrison,  9th  “ 

51  John  Tyler,  10th  “ 

52  James  K.  Polk,  11th 

53  Zachary  Taylor,  12th  “ 

54  Millard  Fillmore,  13th  “ 

55  Franklin  Pierce,  14th  “ 

56  James  Buchanan,  15th  “ 

57  Abraham  Lincoln,  16th  “ 

58  Andrew  Johnson,  17th  “ 

59  U.  S.  Grant,  18th  “ 

60  Lincoln  at  Home — a  beautiful 

picture  of  President  Lincoln 
and  his  son  Thaddeus. 

61  Henry  Clay. 

62  Daniel  Webster. 

63  Stephen  A.  Douglass. 

64  Edward  Everett. 

65  Washington  Irving. 

66  Professor  Longfellow. 

67  Dr.  Kane,  the  Arctic  Explorer. 

68  Rev.  Henry  Ward  Beecher,  D  D. 

69  Rev.  H.  W.  Bellows. 

70  Hon.  W.  L.  Dayton. 

71  Horace  Greeley. 

72  Hon.  John  P.  Hale. 

73  Hon.  Hannibal  Hamlin. 

74  Geo.  D.  Prentiss,  of  Kentucky 

75  Stephen  Girard. 

76  Hon.  Charles  Sumner. 

77  Hon.  Simon  Cameron. 

78  Hon.  S.  P.  Chase,  Chief  Justice 

U.  S. 

79  Gov.  Andrew,  of  Mass. 

80  Gov.  Brownlow,  of  Tenn. 

81  William  Penn. 

82  Benjamin  Franklin. 

83  Lewis  Cass. 

84  Thomas  H.  Benton. 


Class  VIII — The  Principal  Battles  of  the  Franco -German  War 
of  1870. 


Drawn  on  the  Spot  by  S.  Kaim,  and  also  the  Portraits  from  Life  of  the 
principal  actors  during  the  War. 

PER  SLIDE,  $2.50. 


1  The  Battle  of  Weissenburg,  Aug. 

4,  1870. 

2  The  Battle  of  Woerth,  and  flight 

of  McMahon,  Aug.  6,  1870. 


3  Storming  of  Weissenburg,  Aug. 

4,  1870. 

4  General  view  of  the  Battle  of 

Sedan,  Sept.  1,  1870. 


22 


5  On  the  evening  of  the  Battle  of 

Sedan,  General  Reille  bearing 
surrender. 

6  Interview  between  Napoleon  and 

Bismarck  at  Doucheri,  Sept.  1, 
1870. 

7  Napoleon  surrendering  his  sword 

to  King  William,  Sept.  2,  1870. 

PORTRAITS. 

8  King  William  of  Prussia. 

9  Queen  of  Prussia. 

10  Crown  Prince  of  Prussia. 

11  Count  Bismarck. 

12  Leopold  of  Hohenzollern. 

Class  IX — Views  in  Sets, 

PER  SLIP 

1.  THE  PILGRIM’S  PROGRESS. 

A  Sunday-school  Concert  Exercise,  called 
“The  Song  of  the  Pilgrimage,”  is  much  used 
with  this  set.  Price,  60  cents  per  dozen. 

1  The  Pilgrim  and  his  Burden. 

2  The  Pilgrim  at  the  Gate. 

3  The  Slough  of  Despond. 

4  Christian  and  the  3  Shining  ones. 

5  The  Shining  Light. 

6  The  Pilgrim  and  the  Lions. 

7  Christian  and  the  Shepherds. 

8  The  Pilgrims  found  Sleeping. 

9  Vanity  Pair. 

10  Giant  Pope. 

11  Christian  Arming. 

12  Passing  through  the  Waters. 

This  set  can  he  extended  to  twenty 
pictures,  if  preferred. 

2.  CHRISTIANA  AND  HER 
CHILDREN. 

A  Sunday-school  Concert  Exercise,  called 
“Christiana  and  her  Children,”  is  much  used 
with  this  set.  Price,  96  cents  per  dozen. 

1  Christiana  and  her  Children. 

2  The  Letter. 

3  The  Man  with  the  Muck  Rake. 

4  The  Bath  of  Sanctification. 

5  Great  Heart  and  the  Pilgrims. 

6  Eight  between  Great  Heart  and 

Grim. 


13  Von  Moltke. 

14  Minister  of  War,  Von  Roon. 

15  General  Blumenthal. 

16  General  Falkenstein. 

17  General  Von  Goben. 

18  Napoleon  III. 

19  Empress  Eugenie. 

20  Prince  Imperial. 

21  General  MacMahon. 

22  General  Canrobert. 

23  General  Frossard. 

24  General  Bazaine. 

25  Garibaldi. 

26  Prince  Napoleon. 

27  General  Uhlrick. 

28  General  Steinmetz. 

conveying  Moral  Lessons. 

5,  $2.50. 

7  The  Young  Pilgrims  catechized 

by  Prudence. 

8  The  Shepherd  Boy  in  the  Valley 

of  Humiliation. 

9  The  Pilgrims  in  the  Valley  of 

the  Shadow  of  Death. 

10  The  Pilgrims  at  the  House  of 

Gaius. 

11  Death  of  Giant  Despair. 

12  Christiana  preparing  to  Cross  the 

River. 

X®=Instead  of  this,  a  new  Series  of  twenty 
slides  can  be  furnished,  if  desired. 

3.  DRUNKARD’S  PROGRESS 
AND  END. 

1  Domestic  Happiness. 

2  The  Temptation. 

3  A  Loving  Heart  made  Sad. 

4  The  Rum-hole — a  Substitute  for 

Home. 

5  Rum  instead  of  Reason. 

6  Degraded  Humanity. 

7  The  Cold  Shoulder  by  old  friends 

8  Rumseller’s  Gratitude. 

9  Poverty  and  Want. 

10  Robbery  and  Murder. 

11  Mania-a-potu — the  Horror  ^of 

Horrors. 

12  The  Death  that  precedes  Eternal 

Death. 

In  Series  3  we  just  get  a  glimpse  at  the 
comic  side  of  the  melancholy  career  mere 
than  in  Series  4.  - 


V 


23 


4.  THE  BOTTLE. 

From  the  originals  by  G.  Cruikshank. 

1  The  bottle  is  brought  out  for  the 

first  time.  The  husband  in¬ 
duces  his  wife  “just  to  take  a 
drop.” 

2  He  is  discharged  from  his  em¬ 

ployment  for  drunkenness. 
“They  pawn  their  clothes  to 
supply  the  bottle.” 

3  An  execution  sweeps  off  the 

greater  part  of  their  furniture. 
“They  comfort  themselves 
with  the  bottle.” 

4  Unable  to  obtain  employment, 

they  are  driven  by  poverty 
into  the  streets  to  beg,  and  by 
this  means  still  supply  the 
bottle. 

5  Cold,  misery,  and  want  destroy 

their  youngest  child.  “They 
console  themselves  with  the 
bottle.’ 5 

6  Fearful  quarrels  and  brutal  vio¬ 

lence  are  the  natural  conse¬ 
quences  of  the  frequent  use  of 
the  bottle. 

7  The  husband,  in  a  furious  state 

of  drunkenness,  kills  his  wife 
with  the  instrument  of  all  their 
misery. 

8  The  bottle  has  done  its  work — 

it  has  destroyed  the  infant  and 
the  mother ;  it  has  brought  the 
son  and  daughter  to  vice  and 
to  the  streets,  and  has  left  the 
father  a  hopeless  maniac. 


5.  THE  BOTTLE— (Comic.) 

EIGHT  SLIDES,  PER  SET,  $12.00. 

...  The  Toast. 

2  Various  Brands. 

3  Irish  Whisky,  Scotch  Gin,  and 

Five  Points  Hum. 

4  Stabbing. 

5  Shooting. 

6  Robbing. 

7  Hanging. 

8  The  End. 


6.  STOMACH  OF  THE  DRUNK- 
ARD  IN  ITS  DIFFERENT 
STAGES  OF  DISEASE. 

APPEARANCE  OF  THE  STOMACH. 

1  Of  a  Temperance  Man. 

2  Of  the  Moderate  Drinker. 

3  Of  the  Drunkard. 

4  After  a  Debauch. 

5  Of  a  Hard  Drinker. 

6  Of  a  Habitual  Drunkard. 

7  Of  a  Drunkard  on  the  verge  of 

the  grave. 

8  During  Delirium  Tremens. 

7.  THE  GAMBLER’S  CAREER. 

1  The  first  seed  of  the  passion 

planted  in  the  young  mind. 

2  The  development  of  the  passion 

with  higher  stakes. 

3  Finding  himself  always  the  loser, 

he  resorts  to  false  play. 

4  He  is  detected  and  roughly  han¬ 

dled  by  his  friends. 

5  Having  finally  lost  his  all,  he 

leaves  the  gambling-house  in 
despair  and  madness. 

6  He  ends  his  life  in  a  mad-house, 

still  occupied  with  his  ruling 
passion. 

8.  THE  TEN  COMMANDMENTS. 

ILLUSTRATED  IN  12  PICTURES. 

1  Thou  shalt  have  no  other  gods 

before  me. 

2  Thou  shalt  not  make  unto  thee 

any  graven  image. 

3  Thou  shalt  not  take  the  name  of 

the  Lord  thy  God  in  vain. 

4  Remember  the  Sabbath  day  to 

keep  it  holy. 

5  Honor  thy  father  and  thy  mother. 

6  Thou  shalt  not  kill. 

7  Thou  shalt  not  commit  adultery. 

8  Thou  shalt  not  steal. 

9  Thou  shalt  not  bear  false  witness 

against  thy  neighbor. 

10  Thou  shalt  not  covet. 

11  Moses  receiving  the  Tables  of  the 

law. 

12  Moses  delivering  the  Tables  of 

the  law  to  the  people. 


24 


9.  THE  LORD’S  PRAYER. 

ILLUSTRATED. 

Original  designs  by  Nisle. 

1  “Our  Father  which  art  in  hea¬ 

ven.” 

2  “  Thy  will  be  done  on  earth  as  it 

is  in  heaven.” 

3  ‘  ‘  Give  us  this  day  our  daily 

bread.” 

4  “Forgive  us  our  debts  as  we  for¬ 

give  our  debtors.” 

5  “Lead  us  not  into  temptation.” 

6  “  Deliver  us  from  evil.” 

7  “'Thine  is  the  kingdom,  and  the 

power,  and  the  glory,  for¬ 
ever.  Amen.” 

10.  FOUR  SCENES  FROM  THE 
LIFE  OF  A  COUNTRY  BOY. 

1  Leaving  Home. 

2  Temptation  and  Fall. 

3  Farther  on — Gambling. 

4  At  Last — the  Forged  Check. 

11.  SHAKSPEARE’S  SEVEN 

AGES  OF  MAN. 

1  The  Infant. 

2  The  School-boy. 

3  The  Lover. 

4  The  Soldier. 

5  The  Justice. 

6  The  Lean  and  Slippered  Panta¬ 

loon. 

7  The  Last  Scene. 

12.  MASONIC  AND  OTHER 

LODGE  PICTURES. 

1  Skull  and  Cross  Bones. 

2  Crown  and  Glory. 

3  The  Pilgrims. 

4  The  Knight. 

5  Ascension. 

6  The  Skeleton. 

7  Temple  of  Honor. 

8  First  Star. 

9  Second  Star. 


10  Third  Star. 

11  Open  Grave. 

12  Closed  Grave. 

13  The  Rainbow. 

14  The  Forge. 

15  Punishment. 

16  Family  Happiness. 

17  Washington. 


13.  TAM  O’SHANTER. 

ILLUSTRATING  BURNS’  POEM. 

1  “And  scarcely  had  he  Maggie 

rallied, 

When  out  the  hellish  legion 
sallied.” 

2  “Gathering  her  brows  like  gather¬ 

ing  storm, 

Nursing  her  wrath  to  keep  it 
warm.  ’  ’ 

3  “The  Souter  tauld  his  queerest 

stories, 

The  landlord’s  laugh  was  ready 
chorus.” 

4  “  Nae  man  can  tether  time  or 

tide  ; 

The  hour  approaches  Tam  maun 
ride.” 

5  "^Ae  spring  brought  off  her  master 

hale, 

But  left  behind  her  ain  gray 
tail.” 

6  “And  vow!  Tam  saw  an  unco’ 

sight ! 

Warlocks  and  witches  in  a 
dance.” 


14.  NEW  TALE  OF  A  TUB. 

A  COMIC  POEM  ILLUSTRATED. 

Each  set  of  these  Pictures  is  accompanied 
by  a  copy  of  the  Poem. 

1  Opening  the  Question — the  Ben¬ 

gal  Tiger. 

2  Bengal  Ease. 

3  The  Artful  Dodge. 

4  Look  before  you  Leap. 

5  Under  Cover. 

6  Increasing  the  interest  of  the 

Tail. 

7  The  Climax. 


25 


15.  THE  HISTORY  AND  AMUS¬ 
ING  ADVENTURES  OF  REN- 
ARD,  THE  SLY  FOX. 

From  the  Celebrated  Illustrations  by 
Kaulbach,  of  Munich. 

1  Renard  leads  Bruin  to  search  for 

honey  and  entraps  him. 

2  Renard  feigns  death,  deceives  the 

crows,  kills  and  eats  them. 

3  Renard  deludes  the  storks,  bites 

off  their  heads  and  eats  them. 

4  Renard  entraps  the  hares. 

5  Renard  plots  the  destruction  of 

the  chicken  family. 

6  Renard  kills  the  chickens,  but  is 

taken  prisoner. 

7  Renard  condemned  to  death. 

8  Renard  taken  from  prison  to  cure 

the  king,  and  succeeds. 

9  Renard’s  cousin,  a  she -monkey, 

implores  the  king  to  pardon 
Renard. 

10  Renard’s  life  spared,  on  condition 

that  he  fights  with  the  wolf. 

11  Renard  greases  his  whole  body, 

so  that  the  wolf  cannot  lay 
hold  on  him. 

12  Renard  succeeds  in  blinding  the 

wolf,  and  conquers  him  with 
ease. 

13  Renard  receives  the  homage  of 

the  courtiers  and  the  people. 

14  Renard  decorated  by  the  king, 

and  appointed  counselor. 

15  Renard  lives  henceforth  a  life  of 

ease  and  opulence  in  his  lux¬ 
urious  house. 

16.  SELECTIONS  FROM  THE 
FABLES  OF  LAFONTAINE. 

ILLUSTRATED  BY  GRAND YILLE . 

The  Text  to  these  amusing  and  interest¬ 
ing  Fables  may  be  found  in  E.  'Weight's 
English  Translation,  published  by  Willis 
P.  Hazaed,  Philadelphia. 

1  The  Grasshopper  and  the  Ant. 

2  The  Raven  and  the  Fox. 

3  The  Frog  that  Wished  to  be  as 

Big  as  the  Ox. 


The  Wolf  and  the  Dog. 

The  City  Rat  and  the  Country 
Rat. 

The  Wolf  and  the  Lamb. 

The  Thieves  and  the  Ass. 

Death  and  the  Unfortunate. 
Death  and  the  Woodman. 

The  Fox  and  the  Stork. 

The  Wolf  accusing  the  Fox  be¬ 
fore  the  Monkey. 

The  Bird  Wounded  by  an  Arrow. 
The  Lion  and  the  Gnat. 

The  Ass  Loaded  with  Sponges, 
and  the  Ass  Loaded  with  Salt. 
The  Lion  and  the  Rat. 

The  Dove  and  the  Ant. 

The  Astrologer  who  stumbled 
into  a  Well. 

The  Hare  and  the  Frogs. 

The  Lion  and  the  Ass  Hunting. 
The  Miller,  his  Son,  and  the  Ass. 
The  Wolf  turned  Shepherd. 

The  Frogs  asking  a  King. 

The  Fox  and  the  Goat. 

The  Drunkard  and  his  Wife. 


17.  THE  CRUSADERS. 

Harangue  to  the  Crusaders. 
Departure  of  the  Crusaders. 
Combat  between  Crusaders  and 
Saracens. 

Crusaders  besieging  a  City. 
Breaking  up  of  the  Camp. 
Return  of  the  Crusaders. 


18.  THE  ILL-FATED  SHIP. 

The  Ship  Leaving  the  Wharf. 
The  Ship  Sailing  with  Fair  Wind. 
The  Commencement  of  a  Storm. 
Height  of  a  Storm. 

The  Ship  on  Fire. 

The  Raft. 


.  SCHILLER’S  SONG  OF  THE 
BELL. 

Portait  of  the  German  Poet,  Fr. 

V.  Schiller. 

The  Baptism. 


4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 

24 

1 

■  2 

3 

4 

5 

6 

1 

2 

3 

4 

5 

6 

19. 

1 

I  2 


26 


3  Happy  Home. 

4  Going  to  Church. 

5  Marriage  Bell. 

6  Harvest  Home. 

7  Fire  Bell. 

8  The  Tocsin. 

9  Funeral  Bell. 

10  Raising  of  the  Bell. 


20.  RIP  VAN  WINKLE. 

1  His  Scolding  Wife. 

2  Rip  with  the  Children. 

3  Rip  at  the  Village  Inn. 

4  The  Blinking  Party  in  the  Moun. 

tain. 

5  Rip  Returns  to  his  Home. 

6  Rip  Relating  his  Story. 


Class  X — Miscellaneous  Pictures. 


PER  SLIDE,  $2.50. 


1  Alpine  Cottage. 

2  Approach  of  Evening. 

3  Angels  of  the  Madonna  Sixtina. 

4  Angel  of  Peace. 

5  Angel  of  Light. 

6  “  A  Baby  was  Sleeping.” 

7  Agriculture. 

8  America. 

9  Asia. 

10  Bacchus  and  his  Panthers. 

11  Bargaining  for  a  Horse. 

12  Basanio  and  Portia. 

13  Bed  Time. 

14  Behave  Well. 

15  Beware. 

16  Blessings  of  the  House  and  of  the 

Field. 

17  Bo  Peep. 

18  Bolton  Abbey,  in  the  olden  time. 

19  Both  Puzzled. 

"But,  sir,  if  wanst  naught  be  nothin’, 
then  twice  naught  must  be  some¬ 
thin’,  for  its  double  what  wanst 
naught  is.” 

20  Brigand’s  Hat. 

21  Briquet  Hound. 

22  Broken  Boll. 

23  Cabman’s  Leisure  Hour. 

24  Cavalry  Charge. 

25  Cendrillon. 

26  Charity. 

27  Children’s  Bance. 

28  Children’s  Offering. 

29  Children  Making  Wreaths. 

30  Children  of  Charles  the  First. 

31  Christmas  Eve. 

32  Christian  Maiden. 

33  Cocoa  Merchant. 

34  Come  Along. 

35  Coming  thro’  the  Rye. 

36  Consolation 

37  Contentment. 

38  Cross  of  Prayer. 


39  Crossing  the  Thay. 

40  Bancing  Children. 

41  Barwin  Expounding  his  Theory 

(comic). 

42  Baughter  of  the  East. 

43  Baughter  of  Zion. 

44  Beceiving  Granny. 

45  Beer  Stalkers. 

46  Binah  Consoling  Hetty  inPrison. 

47  Boll’s  Birthday. 

48  Bonkey  Race  (comic). 

49  Brawing  the  Net  at  Ilawesworth. 

50  Briving  Home  the  Flocks. 

51  Brift  Wreck  from  the  Armada. 

52  Brumming  Lesson. 

53  Eagle  and  Shield. 

54  Engineering. 

55  Enjoying  the  Breeze  near  the 

Lake. 

56  English  Cottage. 

57  Evangeline. 

58  Eve  of  the  Flight. 

59  Expectation. 

60  Faith. 

61  Fairy  Tales. 

62  Faithful  Friend. 

63  Family  Happiness. 

64  Farewell. 

65  Farm  Yard  in  Winter. 

66  Feeding  the  Bogs. 

67  First  Alms. 

68  First  Born. 

69  First  Lesson. 

70  First  Reformer’s  Protest. 

71  Forester’s  Family. 

72  Flute  Lesson. 

73  Full  Practice. 

74  Game  of  Life. 

75  Gardener’s  Baughter. 

76  Gathering  the  Mistletoe. 

77  Genius  of  Electricity. 

78  Genius  of  Steam. 

79  Girl  Milking. 


27 


80  Glimpse  of  an  English  Homestead. 

81  Going  to  Bed. 

82  Going  Halves. 

83  Gourmand. 

84  Grandma’s  Pet. 

85  Grandpa’s  Siesta. 

86  Gretchen  and  her  Pet  Lamb. 

87  Hannibal  Crossing  the  Alps. 

88  Happy  as  a  King. 

89  Hero. 

90  Highlander’s  Dream  of  Home. 

91  Hold  Straight. 

92  Home  Again. 

93  Homeless. 

94  Hope. 

95  Hunting  the  Walrus. 

96  Imaginary  Sick  Bachelor. 

97  Inundation. 

98  Knitting  Lesson. 

99  Last  Parting  of  the  Sons  of  Ed¬ 

ward  IV. 

100  Lazy  Little  Girl. 

101  Left  in  Charge. 

102  Leopard  Hunter. 

103  Lily  of  Ghent. 

104  Little  Arithmetician. 

105  Little  Family. 

106  Little  Fruiterer. 

107  Little  Harvesters. 

108  Little  Shepherds. 

109  Loan  of  a  Bite. 

110  Love  at  First  Sight. 

111  Love  Token. 

112  Maid  of  Orleans. 

113  Martin  Luther  Burning  the 

Pope’s  Bull,  December,  1520. 

114  Mama’s  Birthday. 

115  Mary’s  Pet  Lamb. 

116  May  Pole. 

117  Men  of  War  at  Sheerness. 

118  Milking  the  Goats. 

119  Miracle  of  St.  Mark. 

120  Monarch  of  the  Glen. 

121  Mother’s  Shadow. 

122  Mother’s  Grave. 

123  Mother  Goose. 

124  My  Lady’s  Page  in  Disgrace. 

125  Napoleon’s  Death  Bed. 

126  Naughty  Child. 

127  Neapolitan  Peasants. 

128  Near  the  Falls. 

129  Night. 

130  Noon  on  the  Lake  Shore. 

131  Norham  Castle. 


“Nothing  Venture,  Nothing 
Have.” 

Oh  !  or  the  Astonished  Rustics. 
On  the  Way  to  School. 

On  the  Yorkshire  Coast. 

One  Pipe  and  Two  Crackers. 
Open  Bible.  Psalm  xix. 

Othello  Relating  his  Adven¬ 
tures. 

Overtasked. 

Peek-a-Boo. 

Penman  in  Trouble. 

Perdita  and  Florizel. 
Persuasion. 

Phoebe  Mayflower. 

Picture  Book. 

Playing  at  Doctor. 

Play  Ground. 

Pride  and  Humility. 

Primrose  Gatherers. 

Protection. 

Rabbit  Fanciers. 

Reading  the  Psalms. 

Renewal  of  the  Lease  Refused. 
Return  from  the  Fair. 

Return  of  the  Swallows. 
Salmacis. 

Saved. 

St.  Agnet. 

Santo  Barbara. 

Saint  Mark  and  the  Saints. 
Saint  Peter,  Martyr. 

Scene  at  a  Fire. 

Sewing  Lesson. 

Scene  at  a  Tournament. 
Sheltering  Tree. 

Shepherd’s  Bible. 

School  Master  in  Love  (comic). 
Siesta  after  a  Hearty  Meal. 
Siesta,  Eugenie  and  Ladies. 
Snow  Storm. 

Soldier’s  Home. 

Spaniards  and  Peruvians. 

Stag  at  Bay. 

Steamboat.  Race  on  the  Missis¬ 
sippi. 

Stream  of  Life. 

Study. 

Summer  Afternoon. 

Tenderly  Nursing. 

Tight  Cork  (comic). 

Three  Christian  Graces. 

Three  Members  of  the  Temper¬ 
ance  Society 


132 

133 

134 

135 

136 

137 

138 

139 

140 

141 

142 

143 

144 

145 

146 

147 

148 

149 

150 

151 

152 

153 

154 

155 

156 

157 

158 

159 

160 

161 

162 

163 

164 

165 

166 

167 

168 

169 

170 

171 

172 

173 

174 

175 

176 

177 

178 

179 

180 

181 


28 


182  Toilet. 

183  The  Pets. 

184  The  Two  Dogs. 

185  The  See-saw. 

186  Unconscious  Sleeper. 

187  Victor  of  the  Glen. 

188  Washington  Irving  and  his 

Literary  Friends  at  Sunnyside. 

189  Washing  Day. 

190  Whitewashing. 


191  Winter  in  New  England.  * 

192  Winter’s  Morning. 

193  Wounded  Hound. 

194  Writing  Lesson. 

195  Youthful  Anglers. 

196  Youthful  Queen. 

197  Young  Companion  and  their 

Hungry  Friends. 

198  Young  Brood. 


Class  XI — Dissolving  Views. 

Selected  and  executed  with  great  care,  in  sets,  so  as  to  produce  charming  effects 
in  dissolving. 


Four  Slides ,  $12.50. 

1  Fort  Sumter  in  Time  of  Peace  : 

Daylight,  Moonlight. 

Fort  Sumter  in  time  of  War  : 

On  Fire  during  the  Bombard¬ 
ment. 

Fire  and  Smoke  Rising. 

Three  Slides,  $10.00. 

2  Bay  of  Naples  and  Mt.  Vesuvius: 

Day,  Night, 

Eruption — Fire  and  Smoke 
Rising. 

Three  Slides,  $10.00. 

3  Life  Near  the  North  Pole  : 

Day,  Night, 

Moving  Aurora  Borealis. 

Three  Slides,  $10.00. 

4  Castle  of  St.  Angelo  and  Church 

of  St.  Peter  at  Rome. 

Day,  Night, 

Illuminated  and  Fireworks. 

Three  Slides,  $10.00. 

5  Christmas  Eve  : 

At  Home,  In  Camp, 

In  Camp,  Fire  Burning,  Smoke 
Rising. 

Four  Slides,  $10.00. 

6  The  Four  Seasons  : 

Spring,  Autumn, 

Summer,  Winter, 


Four  Slides ,  $10.00. 

7  Voyage  of  Life  : 

Childhood,  Manhood, 

Youth,  Old  Age. 

Two  Slides,  $7.50. 

8  Water  Mill  in  the  Alps  : 

Winter, 

Summer — Wheel  Moving. 
Three  Slides,  $7.50. 

9  The  Brave  Drummer-Boy  and 

his  Father  : 

Both  Enlist  in  the  Union 
Army. 

In  Battle  against  the  Enemies 
of  the  Union. 

Both  Mortally  Wounded  ;  they 
Die  together  on  the  Battle¬ 
field. 

*  Three  Slides,  $7.50. 

10  Love,  Engagement,  and  Marri- 

age : 

The  First  Meeting. 

Five  Minutes  after  the  engage 
ment. 

Five  Years  after  Marriage. 
Three  Slides,  $7.50. 

11  The  Hopeful  Bride. 

The  Happy  Mother. 

The  Mourning  Widow. 

Three  Slides,  $7.50. 

12  Courtship  for  the  Second  Wife  : 

The  Ghost  of  the  First  Wife 
Appears. 

The  Consternation. 


29 


•  Three  Slides,  $7.50. 

13  Life’s  Day: 

Morning,  Noon, 

Night. 

SETS  OF  TWO  SLIDES. 

Per  set ,  $5.00.  * 

14  Cause  and  Effect  : 

Rowing  Against  the  Tide. 
Rowing  With  the  Tide. 

15  He  who  Marries  does  Well. 

He  who  does  not  Marry  does 
Better. 

16  Morning  Star  Rising. 

EveniDg  Star  Setting. 

17  Grace  Before  Meat. 

Grace  After  Meat. 

18  Expectation,  Satisfaction. 

19  Old  Woman  Reading. 

Old  Woman  Reeling. 

20  Yase  of  Flowers  in  Bud. 

Vase  of  Flowers  in  Full  Bloom. 

21  Temptation,  Perdition. 

22  Castle  of  Ehrenfels  on  the  Rhine  : 

Summer,  Winter. 

23  Conway  Castle,  England  : 

Day,  Moonlight. 

24  Windsor  Castle  : 

Day,  Moonlight. 

35  Isola  Bella,  Italy  : 

Day,  Moonlight. 

26  The  Settlement  in  the  Back- 

woods. 

The  First  Beginning. 

The  Increase. 

27  Castle  of  Chillon  on  the  Lake  of 

Geneva,  Switzerland  : 

Day. 

Moonlight  in  Winter. 

28  Death-bed  of  the  Righteous  : 

John  Wesley’s  Last  Moments 
Occupied  in  Praying. 
Death-bed  of  the  Wicked  : 

Cardinal  Richelieu’s  Last  Mo¬ 
ments  Occupied  in  Card¬ 
playing. 

29  Abel’s  Sacrifice  Received. 

Cain’s  Sacrifice  Rejected. 

30  Noah  Building  the  Ark. 

Noah  Receiving  Advice  from 
Above. 

31  Noah’s  Sacrifice. 

Appearance  of  the  Rainbow. 


32  Israelites  Passing  through  the 

Red  Sea. 

Destruction  of  Pharaoh  and  .  his 
Host. 

33  The  Witch  of  Endor  Visited  by 

Saul. 

The  Witch  of  Endor  raising 
Samuel. 

34  Flower  Pieces  : 

Dahlias  and  Roses. 

Asters  and  Poppies. 

35  Fruit  Pieces  : 

Grapes,  Currants. 

36  English  Bull  Dogs. 

English  Sheep. 

37  The  Enemy  at  His  Hiding  Plaoe. 
The  Enemy  at  the  Door. 

38  Rebels  Shooting  a  Prisoner. 
Rebels  Defeated. 

39  Before  the  Proclamation. 

After  the  Proclamation. 

40  Vanity,  Junketing. 

41  War,  Peace. 

42  The  Friendly  Meal. 

A  Temperance  Meeting. 

43  Joy,  Sorrow. 

44  Alexander  and  Diogenes. 

Jack  in  Office. 

45  The  Morning  Kiss. 

The  Evening  Prayer. 

46  High  Life,  Low  Life. 

47  Looking  In,  Looking  Out. 

48  Indolence  and  Folly  : 

The  Wrong  Way  of  Spending 
the  Sabbath. 

The  Explanation  of  the  Bible  : 
The  Right  Way  of  Spending 
the  Sabbath. 

49  Fondly  Gazing  (very  beautiful). 

“  Fondly  gazing  on  that  young  face, 

With  anxious  thoughts  of  future  years ; 
The  mother  watched  each  budding  grace, 
And  mused  on  all  her  hopes  and  fears !” 

The  Empty  Cradle  (very  beau¬ 
tiful). 

“  Gone !  from  a  world  of  pain  and  woe ! 
Gone !  from  death — from  sin’s  alloy, 
Gone !  from  temptation’s  wiles  and,  Oh ! 
Gone!  gone!  irom  grief  to  endless  joy ! 

50  Mother’s  Dream. 

Angel  of  Peace. 

51  Jeff  in  Power,  Surrounded  by  his 

Generals. 

Jeff  Powerless,  Surrounded  by 
his  Captors. 


30 


52  Oil  Stocks,  Up  ! 

Oil  Stocks,  Down ! 

53  Old  Patriot  of  ’76  commenting 

on  the  Wicked  Rebellion. 
Death-Bed  of  a  Patriot  in  ’64, 
Giving  Advice  to  his  Sons. 

54  The  Farewell. 

The  Farewell  Goodnight. 

55  Puck  and  the  Fairies. 

Puck  and  the  Fairies  Goodnight. 

56  The  Dream,  Goodnight. 

57  The  Contraband. 

The  Recruit. 

58  The  Landlord,  The  Tenant. 

59  The  Ball  Room. 

The  Workroom. 

60  St.  James’s,  St.  Giles’s. 

61  In  Public,  In  Private. 

62  Within,  Without. 

63  The  First  Christmas  Morning. 
The  Star  Appearing  to  the  Shep¬ 
herds. 

64  The  Pet  of  the  Fancy. 

The  Pet  of  the  Ladies. 


65  The  Beggar. 

The  Opulent. 

66  Outward  Bound — The  Quay  at 

Liverpool. 

j  Homeward  Bound — The  Dock  at 

Boston. 

67  Mr  First  Sermon. 

My  Second  Sermon. 

68  Summer  Landscape. 

Winter  Landscape. 

69  White  Rose. 

Red  Rose  and  Cupid. 

70  The  Onconvaniances  of  Single 

Life. 

The  Raal  Convaniances. 

71  By  the  Seaside. 

Near  the  Falls. 

72  The  Toilet. 

The  Gourmand. 

73  Polar  Landscape. 

Halo. 

74  Polar  Landscape. 

Aurora  Borealis. 

75  Highlander’s  Dream  of  Home. 
The  Vision. 


Class  XII — Chromatropes,  or  Artificial  Fire- Works,  &c. 

These  slides  are  singularly  curious,  the  effect  being  very  similar  to  that  of  the  Kaleido¬ 
scope.  The  pictures  are  produced  by  brilliant  designs  being  painted  upon  two  circular 
glasses,  and  the  glasses  being  made  to  rotate  in  different  directions.  A  pleasing  variety  of 
changes  in  the  pattern  are  caused  by  turning  the  wheel — sometimes  slowly,  then  quickly, 
backward  and  forward. 

1  “  The  National  Flag”  Chromatrope.  From  designs  expressly 

made  to  introduce  the  colors  of  our  glorious  National  Flag. 

We  have  five  different  patterns  of  this  Chromatrope.  Each,  .  $5  00 

2  “  The  Geometrical  ”  Chromatrope.  A  variety  of  entirely  new 

and  original  patterns,  of  superior  Chromatic  and  Geometrical 

effects.  We  have  many  different  styles  of  this  Chromatrope. 

Each, . 


5  00 


31 


3  “  The  Washington  ”  Chromatrope.  A  new  and  beautiful  de¬ 

sign,  with  a  photographic  likeness  of  Washington  in  the  centre 
(copied  from  Stuart’s  celebrated  painting  in  the  Boston  Athe- 
nseum),  and  the  stars  and  stripes  revolving  around  it  in  glo¬ 
rious  array.  Each,  .  .  .  .  .  .  .  .  $5  50 

4  “The  Lincoln’’  Chromatrope.  A  correct  likeness  of  our  la¬ 

mented  President  in  the  centre  of  a  revolving  display  of  bril¬ 
liant  colors.  Each,  .  .  .  .  .  .  .  .  5  50 

5  “  The  Good  Night  ”  Chromatrope.  The  words  “  Good  Night,  ” 

encircled  by  a  wreath  of  flowers  in  the  centre  of  a  Revolving 
Chromatrope — very  appropriate  as  a  closing  piece  of  an  exhi¬ 
bition.  Each,  .........  5  50 

6  “Good  Night.”  The  words  of  Good  Night  in  a  wreath  of 

flowers — by  moving  a  slip  the  words  appear,  .  .  .  .3  50 

7  Moving  Waters.  Represents  the  Waters  moving  in  the  Moon¬ 

light — a  very  beautiful  and  natural  effect,  .  .  .  2  50 

8  Marcy’s  Eidotrope.  .........  75 


PAINTINGS  WITH  REVOLVING  MOTION. 

9  View  of  Old  Ruins,  which,  by  being  turned  around,  changes  to 

Portrait  of  an  Old  Woman,  .  .  .  .  .  .  5  00 

10  Views  of  Rocks  and  Shrubbery,  which  by  being  turned  around, 

changes  to  Portrait  of  a  Satyr,  .  .  .  .  .  5  00 

11  Holland  Windmill,  with  Revolving  Fans, .  .  .  .  .  5  00 

1 2  Jeff  Davis  before  the  war — a  fierce-looking  Soldier  ;  by  turning 

the  slide,  the  same  painting  represents  him  after  the  war — a 
long-eared  Jackass,  ....  .  ...  5  00 

13  Bombardment  of  Fort  Sumter;  the  Ironsides  throwing  Shell,  .  5  00 

14  Mount  Vesuvius — Eruption;  throws  out  Fire  and  Smoke,  .  5  00 

15  Snow  Slide — representing  falling  Snow.  Each,  .  .  4  50 

16  The  Seven  Boys — The  Pleiades,  .  .  .  .  .  .  5  00 

17  Fountain,  .  . .  5  00 

18  Newton’s  Disc,  revolving  slides,  with  prismatic  colors,  for  re¬ 

composing  white  light,  .  .  .  .  .  .  .  .  5  00 

19  A  Slide  representing  the  rolling  up  of  a  Curtain — intended  for 

commencing  an  exhibition,  .  .  .  .  .  .  5  50 

This  curtain  is  not  needed  with  the  Seiopticon,  as  its  present  front  arrangement 
answers  the  purpose  far  better,  and  can  be  used  with  any  slide. 


DISSOLVING  CHROMATROPE  S,  FOR  USE  ONLY  IN  THE  DISSOLVING 
LANTERNS. 

20  “Our  Peacemakers,”  Dissolving  Chromatrope.  Arranged  for 
dissolving  effect,  for  two  lanterns,  on  two  slides.  One 
slider  exhibits  the  National  colors  in  Chromatropic  effect, 
with  black  centre,  for  one  lantern.  The  other  slider,  in¬ 
tended  for  the  other  lantern,  contains  on  a  movable  slider, 
five  life-like  portraits  of  President  Lincoln,  Major-Gener¬ 
als  Grant  and  Sherman,  and  Admirals  Farragutand  Porter, 
which  appear  in  the  centre  of  the  Chromatrope  in  succes¬ 
sion.  Per  set, . .  $12  00 


32 


21  “  Our  Departed  Heroes,”  Dissolving  Chromatrope.  Arranged 
for  dissolving  effect,  for  two  lanterns,  on  two  slides.  One 
slider  exhibits  the  National  colors  in  Chromatic  effect,  with 
„  black  centre  for  the  one  lantern.  The  other  slider,  in¬ 
tended  for  the  other  lantern,  contains  on  a  movable  slider 
five  life-like  portraits  of  distinguished  heroes  who  lost 
their  lives  for  the  preservation  of  the  Union.  Per  set,  .  $12  00 

□351”  Extra  Portrait  Slides,  adapted  for  the  use  of  the  Dissolving  Chro- 
matropes.  Each  slider  contains  five  life-like  portraits  of  distinguished 
Generals.  Per  slide,  $7. 50. 


Class  XIII — Original  Leaf  Designs. 

Colored  and  mounted  in  wood. 

PER  SLIDE,  $1.50. 


Motto,  “  God  is  Love.” 

“  “  Feed  my  Lambs.  ” 

“  “  God  will  Provide.” 

“  “Faith,  Hope,  Charity.” 
Leaf  Cross. 


Leaf  Anchor. 

“  Harp. 

“  Cross  and  Crown. 
“  Merry  Christmas. 
“  Happy  New  Year. 


1 

2 

3 

4 

5 

6 

7 

8 
9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 
21 
22 

23 

24 

25 


Class  XIV — Statuary  and  Bas  Reliefs. 

Backed  with  opaque  paint,  and  mounted  in  Wooden  Frames. 
PER  SLIDE,  $1.50. 


Night.  Thorwaldsen. 

Morning.  “ 

The  Four  Seasons — Spring.  “ 

The  Four  Seasons — Summer.  “ 
The  Four  Seasons — Autumn.  “ 
The  Four  Seasons — Winter.  “ 
The  Council  of  War.  Rogers. 
The  Fairy’s  Whisper.  “ 

Taking  the  Oath.  “ 

Union  Refugees.  “ 

The  Home  Guard.  “ 

The  Charity  Patient.  “ 

The  Returned  Volunteer.  “ 

The  Wounded  Scout.  “ 

The  Country  Post-Office.  “ 

The  School  Examination.  “ 

The  Picket  Guard.  “ 

The  Village  School  Master.  “ 

The  Town  Pump.  “ 

Mail  Day.  “ 

The  Bushwhacker.  “ 

Courtship  in  Sleepy  Hollow.  “ 

The  Checker  Players.  “ 

Uncle  Ned’s  School.  “ 

Apollo  Belvidere. 


26 

27 

28 

29 

30 

31 

32 

33 

34 

35 

36 

37 

38 

39 

40 

41 

42 

43 

44 

45 

46 

47 

48 

49 

50 


The  Three  Graces. 

The  Greek  Slave. 

Eve,  before  the  fall. 
Night.  }  n  ,  , 

Morning.  1 0°Peland- 
The  Serenade. 

The  Courtship. 

The  Minstrel. 

Dog  Group. 

The  Sentry  Box. 

The  Three  Companions. 
The  Cymbal  Player. 

The  Flower  Girl. 

Flora. 

Psyche. 

Clio. 

Spring  Season. 

Solitude. 

Woodman’s  Companion. 
The  Little  Market  Girl. 
Industry. 

Pandora. 

The  Three  Companions. 
Sympathy. 

The  Invalid. 


33 


51  The  Two  Companions. 

52  The  Flower  Girl  of  Paris. 

53  Courtship. 

54  Toilet  Stand. 

55  Roman  Vase. 

56  Etruscan  Vase. 

57  The  Mischievous  Brothers. 

58  Faith. 

59  Evening. 

60  Morning. 

61  Shakspeare. 

62  Ariadne  and  the  Tiger. 

63  Feeding  the  Pet  Dove. 

64  Our  Saviour — after  La  Roche. 

65  The  Little  Companion. 

66  Devotion. 

67  Bedtime  Prayer. 

68  Innocence. 

69  The  Pet  Dove. 

70  Faith. 

Class  XV — Select  Painted 
Laughable  3V3 

PER 


71  Roman  Emperor  Caligula. 

72  Roman  Emperor  Caracalla. 

73  Minerva. 

74  Rubens. 

75  Michael  Angelo. 

76  Highland  Mary. 

77  Fisherman’s  Daughter. 

78  Marguerita. 

79  Jupiter  and  Hebe. 

80  Sicilian  Dancers. 

81  Cupid  Asleep. 

82  Una  and  the  Lion. 

83  The  Hunter. 

84  After  the  Bath. 

85  Amazon  attacked  by  a  Lion. 

86  Amor  Indignant. 

87  The  Last  Drop. 

88  The  Pitcher-Girl. 

89  The  Gladiator. 

Comic  Slip  Slides,  giving 
n  to  the  Figures. 

e,  $1.25. 


1  Birth  of  Cupid. 

2  Beggar. 

3  Boy  Smoking. 

4  Boys  Birds’  Nesting. 

5  Cottage,  with  Bridge  and  Boats. 

6  Countryman  and  Dog  Changing 

Heads. 

7  Cutting  Corns. 

8  Dentist  Drawing  Teeth. 

9  Drinking  Fountain. 

10  Dog  in  Kennel. 

11  Domestic  Shower-Bath. 

12  Diver  and  Shark. 

13  Dutchman — Moving  Eyes  and 

Jaw. 


14  French  Cook  Cooked. 

15  Good  Night,  in  Wreath  of  Flow¬ 

ers. 

16  Jugged  Hare. 

17  Lady  with  Expanding  Dress  and 

Bonnet. 

18  Lecture  on  Tobacco. 

19  Lion — Moving  Eyes  and  Jaw. 

20  Lovers  in  Boat. 

21  Lodging-house  Bedstead. 

22  Light-house  in  Storm. 

23  Mischievous  Monkey. 

24  Man  Swallowing  Rats. 

25  Monkey  Dipping  Cat. 

26  Magician  and  Ghost. 


3 


34 


27  Moving  Water  and  Swan. 

28  Man  Throwing  Stick  in  Water, 

and  Dog  Swimming. 

29  Nightmare. 

30  Nearing  Shore — Dog  with  Child 

in  Water. 

31  Pink  Expanding. 

32  Pair  of  Snuffers. 

33  Peacock. 

34  Performance  on  Two  Chairs. 

35  Parrot  Pulling  off  Man’s  Wig. 

36  Rose  and  Fairy. 

37  Somnambulist. 

38  Sailor  Smoking. 

PER  SLII 

1  Anti-Teetotaler. 

2  Acrobats  Performing. 

3  Barber. 

4  Blacksmith. 

5  Cupid  and  Rose. 

6  Combing  a  Bald  Head. 

7  Cook  and  Boar’s  Head. 

8  Clown  Performing. 

9  Death  on  the  Pale  Horse. 

10  Death  in  the  Cup. 

11  Dentistry  Improved. 

12  Drawing  Boot. 

13  Don’t  you  Wish  you  may  Get  it  ? 

14  Expanding  Crinoline. 

15  Expanding  Carnation. 

16  Ferocious  Pig. 


39  Smuggler’s  Cave. 

40  Spider  and  the  Fly. 

41  Turk’s  head — Moving  Eyes. 

42  Topsy — Moving  Eyes. 

43  Treading  in  Father’s  Shoes. 

44  Tax  Collector. 

45  Taking  off  Boots. 

46  Tulips. 

47  Windy  Day. 

48  Woman  with  Cat’s  Head. 

49  Woman  with  Growing  Nose  and 

Chin. 

50  A  Witch. 

2,  $1.75. 

17  Goose  and  Tailor. 

18  Growing  Nose. 

19  Good  Night. 

20  How  d’ye  Do? 

21  Insect  Changes. 

22  Man  Eating  Rats. 

23  Mischievous  Monkey. 

24  Nightmare. 

25  Pickwick  and  Widow  Kissing. 

26  Parson  and  Punch. 

27  Roman  Nose. 

28  Scene  on  the  Rhine. 

29  Stuck  Fast. 

30  Turk’s  Head. 

31  Tiger’s  Head. 

32  Tailor  and  Geese. 


Class  XVI — Paintings  with  Levers,  giving  Laughable 
Motion  to  the  Figures. 

PER  SLIDE,  $2.50. 


1  Lady  Riding. 

2  Stag. 

3  Woodman. 

4  Moving  Chin. 


5  Cobbler  at  Work. 

6  Bill  Sticker. 

7  Man’s  Face. 

8  Horse  Drinking. 


35 


9  Sambo  Lecturing. 

10  Stone  Breaker. 

11  Large  Ship  by  Night. 

12  Small  Ship  and  Lighthouse. 

13  Boy  on  Donkey. 

14  Swan  Drinking. 

15  Stag  Drinking. 

16  Cow  Drinking. 

17  Beggar. 

18  See-Saw. 

19  Boy  Stealing  Apples. 

20  Gout. 

21  Digger. 

22  Monk  Praying. 

23  Boy  Cleaning  Boots. 

24  Reaper. 

25  Fractious  Child. 

26  Monkey  Dipping  Cat. 

27  Lady  Playing  Pianoforte. 

28  Gent  in  Pegtops  taking  off  Hat. 

29  Horse  Eating. 

30  Children  in  Boat. 

31  Grooming  Horse. 


32  Donkey  Riding  Extraordinary. 

33  Sam  Weller  Cleaning  Boots. 

34  Woman  Beating  Boy. 

35  Lady  Praying. 

36  Ship  in  a  Gale. 

37  Girl  Feeding  Goat. 

38  Fiddler. 

39  Volunteer. 

40  Monkey  and  Fish. 

41  Doctor  and  Patient. 

42  Dying  Camel. 

43  Bathing. 

44  Dog  of  St.  Bernard. 

45  Native  Nursing. 

46  Pleasure  Boat  in  Rough  Water. 

47  Steamboat  Pleasure  Trip. 

48  Goat  Feeding. 

49  Natives. 

50  Look  before  you  Leap. 

51  Robinson  Crusoe  on  his  Raft. 

52  Looking  Out  for  Papa. 

53  Signals  of  Distress. 

54  Farmer  and  Pig. 


Class  XVII — Dioramic  Paintings,  with  -Moving  Figures. 

On  Slides,  from  twelve  to  fourteen  inches  long,  with  two  Glasses,  on  one  of  which  the 
scene  is  painted,  and  on  the  ather  the  Figures.  The  Glass  containing  the  Figures  is 
moved  in  a  groove,  and  the  Figures,  Vessels,  &c.,  pass  across  the  Scene. 

JPER  SLIDE,  $4.00. 


1  Holy  rood  Chapel. 

2  Dover  Castle. 

3  Bernard  Castle. 

4  Virginia  Water. 

5  Conway  Castle. 

6  Coventry. 

7  Lambeth  Palacp- 

8  Sidon. 

9  Smuggler’s  Cave. 

10  Newstead  Abbey. 

11  Pyramids  of  Egypt. 

12  Warwick  Castle. 

>3  2b*imes  Tunnel. 


14  Israelites  Crossing  the  Red  Sea, 

15  Noah  Entering  the  Ark. 

16  Menagerie. — Keeper  pointing  to 

the  cage,  in  which  various  ani¬ 
mals  appear  in  succession 

17  Melrose  Abbey. 

18  Tintern  Abbey. 

19  Eddystone  Light  House. 

20  Rome  and  the  Tiber. 

21  Arch  of  Trajan. — Procession  of 

Monks. 

22  Nagasaki  in  Japan. 

23  Castle  of  Chillon. 


Class  XVIII — Paintings  Illustrating  Nursery  Tales. 

1  Old  Man,  Son  and  Ass  ;  or,  the  Folly  of  Trying  to  Please  Every 


One,  eight  paintings  on  two  slides,  .  .  .  .  .  $4  00 

2  House  that  Jack  Built,  ten  paintings  on  two  slides,  .  .  .  4  00 

3  Jack  and  the  Bean  Stalk,  eight  paintings  on  two  slides,  .  4  00 

4  Whittington  and  Cat,  ten  paintings  on  two  slides,  .  .  4  00 

5  John  Gilpin,  nine  paintings  on  two  slides,  .  .  .  .  4  00 

6  'Cock  Robin,  ten  paintings  on  two  slides,  .  .  .  .  .  4  00 


36 


7  Cinderella,  eight  paintings  on  two  slides, . $4  00 

8  Robinson  Crusoe,  eight  paintings  on  two  slides,  •  .  .  4  00 

9  Mother  Hubbard,  eight  paintings  on  two  slides,  .  .  .  4  00 

10  Seven  Ages  of  Man,  seven  painting?  on  one  slide,  .  .  .  2  00 

11  Blue  Beard,  four  paintings  on  one  slide,  .  .  .  .  .  2  00 

12  Jack  and  the  Bean  Stalk,  eight  slides,  per  set,  .  .  .  .  11  00 

13  Pus3  in  Boots,  twelve  slides,  per  set,  .  .  .  .  .  .  15  00 

14  Tale  of  a  Tub,  seven  slides,  per  set,  .  .  .  .  .  10  50 

15  Babes  in  the  Wood,  per  set,  .  .  .  .  .  .  .  12  00 


Class  XI2£ — Beautifully  Colored  Photographs  of  Fine 
Engravings. 


Lists  in  detail  sent  on  application. 


PER  SLIDE,  $2.50. 

The  number  of 
Slides  in  each  Set. 


1  Dore’s  Illustrations  to  the  Bible,  .......  230 

2  Dore’s  Illustrations  to  Milton’s  Paradise  Lost,  .  .  .  .  50 

3  Dore’s  Illustrations  to  Dante’s  Inferno,  .  .  .  .  .76 

4  Dore’s  Illustrations  to  the  Legend  of  the  Wandering  Jew,  .  .  12 

5  Pictures  in  the  Royal  Galleries  of  Dresden,  Munich,  and  Berlin,  .  80 

6  St.  Paul’s  Journeys  Illustrated,  ...  ....  34 

7  Kaulbach’s  “  Shakespeare  Gallery,  ”  ......  12 

8  Views  on  the  Bosphorus,  ........  80 

9  Solomon’s  Temple, . .  20 

10  Selections  from  Bendemann’s  Frieze,  in  Royal  Palace,  Dresden,  .  40 

11  Prae-Raphaelite  Pictures,  by  Italian  masters,  ....  36 

12  Scenes  Illustrating  Cooper’s  Novels,  by  Darley,  ....  32 

13  Commodore  Wilkes’s  Exploring  Expedition,  .  .  40 

14  Dr.  Kane’s  Arctic  Explorations,  .......  14 

15  American  Civil  War,  .........  1000 

16  Franco-German  War,  .........  50 

17  Chicago  Fire,  . . 50 

18  The  American  in  Europe,  by  H.  C.  Crocket,  ....  19 

19  Fables  of  jEsop,  ..........  24 

20  Life  and  History  of  a  Horse,  .......  8 

21  Adventures  of  a  Frog,  .........  15 

22  Grisetts  Grotesques,  by  Tom  Hood,  .  .  .  .  .  .36 

23  Illustrations  of  Burns’s  Poem,  “  Cottar’s  Saturday  Night,”  .  8 


Also  many  others  which,  if  not  in  stock,  can  be  made  from  negatives 
on  hand,  at  short  notice. 


37 


SCIENTIFIC  DEPAETMENT. 


The  pictures  in  the  following  Scientific  Sets  are  photographs  beautifully  colored,  except 
in  such  individual  cases  as  do  not  admit  of  color. 

When  these  are  sealed  in  Canada  Balsam,  with  carefully  finished  sky  and  background, 
they  are  sold  at  $2.50  each.  Considering,  however,  that  for  educational  uses,  there  is 
little  need  for  this  extra  finish,  and  that  their  demand  for  school  purposes  is  likely  to  be 
large,  the  choicest  of  them  have  been  selected  to  be  sold  in  sets  at  an  average  of  $1.50 
each.  When  not  taken  in  sets,  they  are  $2.00  each ;  when  sealed,  as  above  indicated,  they 
are  $2.50  each. 

These  Scientific  Slides  are  just  suited  to  the  wants  of  Educationalists  at  this  time.  They 
need  but  to  be  known  to  be  very  highly  appreciated.  These,  with  the  Sciopticon,  are  far 
more  useful  than  huge  piles  of  cumbersome  philosophical  apparatus  of  many  times  the  cost. 


Class  XX — Mammalia. 


TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Gorilla. 

2  Lion. 

3  Tiger. 

4  Jaguar. 

5  Leopard. 

6  Lynx. 

7  Hyena. 

8  Wolf. 

9  Newfoundland  Hog. 

10  Fox. 

11  Grizzly  Bear. 

12  Seal. 

13  Kangaroo. 

14  Red  Squirrel. 

15  Porcupine. 

16  Elephant. 

17  Rhinoceros. 

18  Reindeer. 

19  Giraffe. 

20  Camel. 


ADDITIONAL  ILLUSTRATIONS, 
PER  SLIDE,  $2.00. 

21  King  of  the  Cannibals. 

22  Skeleton  of  Man  and  Gorilla. 

23  Mandrill. 

24  Diadem  Lemur. 


25  Vampire  Bat. 

26  Mole. 

27  Hedgehog. 

28  Serval. 

29  Puma. 

30  Shepherd’s  Dog. 

31  Esquimaux  Dog. 

32  Weasel. 

33  Skunk. 

34  Raccoon. 

35  Brown  Bear. 

36  Polar  Bear. 

37  Marbled  Seal. 

38  Crested  Seal. 

39  Sea  Lion. 

40  Walrus. 

41  Opossum. 

42  Gray  Squirrel. 

43  Beaver. 

44  California  Gopher. 

45  Bushy-tailed  Rat. 

46  Brown  Rat. 

47  Guinea  Pig. 

48  Red  Rabbit. 

49  Sloth. 

50  Armadillo. 

51  Ant  Eater. 

52  Duck-bill. 

53  Skeleton  of  Elephant. 

54  Hippopotamus. 


38 


55  Malayan  Tapir. 

56  Wild  Boar. 

57  Horse. 

58  Zebra. 

59  Bed  Deer. 

60  Gazelles. 

61  Chamois. 

62  Sheep. 


63  Cashmere  Goat. 

64  Musk  Ox. 

65  Cow. 

66  Zebu. 

67  Buffalo. 

68  Llama. 

69  Greenland  Whale. 

70  Porpoise. 


Class  XXI — Birds. 


TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Condor. 

2  Harpy  Eagle. 

3  Virginian  Eared  Owl. 

4  Undulated  Parrot. 

5  Sappho  Comet  and  Crested  Hum¬ 

ming  Bird. 

6  Kingfisher. 

7  Tailor  Bird. 

8  Mocking  Bird. 

9  Skylark. 

10  Blackbird. 

11  Baltimore  Oriole. 

12  Blue  Jays. 

13  Lyre  Bird. 

14  Boyal  Bird  of  Paradise,  and  Blue 

Girl. 

15  Turkey. 

16  Ostrich. 

17  White  Stork. 

18  Flamingo. 

19  Domestic  Ducks. 

20  Pelican. 

ADDITIONAL  ILLUSTRATIONS, 

PER  SLIDE,  $2.00. 

21  Skeleton  of  a  Bird. 

22  Turkey  Buzzard. 

23  Gerfalcon. 

24  Imperial  Eagle. 

25  Bald  Eagle. 

26  Barn  Owl. 

27  Cockatoo. 

Class  XXII— Re 

TWENTY  SLIDES, 

1  Green  Turtle. 

2  Crocodile. 

3  Alligator. 

4  Chameleon. 

5  Boa  Constrictor. 


28  Toucan. 

29  Mexican  Trogon. 

30  Parrots. 

31  Woodpecker. 

32  Black-breasted  and  King  of  Hum¬ 

ming  Birds. 

33  Euby-throated  Humming  Bird. 

34  Whippoorwill. 

35  Momotus  Ceruleiceps. 

36  Missel  Thrush. 

37  Bell  Bird. 

38  Blue  Bird. 

39  Scarlet  Tanager. 

40  Swallow. 

41  Great  Northern  Shrike. 

42  Rose-breasted  Grosbeak. 

43  Tree  Sparrow. 

44  Raven. 

45  Wild  Pigeon. 

46  Pheasant. 

47  Peacock  Pheasant. 

48  Ruffed  Grouse. 

49  Cassowary  and  Emu. 

50  Great  Bustard. 

51  Whale-headed  Stork. 

52  Sacred  Ibis. 

53  Snipe. 

54  Curlew. 

55  Bean  Goose. 

56  White  Swans. 

57  Mutton  Albatross. 

58  Great  Northern  Diver. 

59  Cormorant. 

60  Penguin. 

>tiles  and  Fishes. 

PER  SET,  $30.00 

6  Rattlesnake. 

7  Viper. 

8  Cobra  di  Capello. 

9  Bull  Frog. 

10  Natterjack. 


39 


11  Perch. 

12  Mackerel. 

13  Sword  Fish. 

14  Dolphin. 

15  Fishing  Frog. 


16  Flying  Fish. 

17  Sea  Horse. 

18  Sturgeon. 

19  White  Shark. 

20  Topedo. 


Class  XXIII— Insects. 


TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Buprestian  Beetles  (4  species). 

2  Harlequin  Beetles. 

3  Mole,  Cricket,  and  Cockroach. 

4  Katydids,  Locusts,  and  Grass¬ 

hopper. 

5  Chinese  Lantern  Fly. 

6  Bedbug. 

7  Dragon  Fly. 

8  Ant-lion,  and  Lace-winged  Fly, 

with  larva. 

9  Nymphalis  Dissippe,  with  larva 

and  chrysalis. 

10  Peacock  Butterfly,  with  larva 

and  chrysalis. 

11  Papillio  Turnus. 

12  Parsnip  Butterfly,  with  larva  and 

chrysalis. 

13  Erebe-strix. 

14  Five-spotted  Sphinx,  with  larva 

and  chrysalis. 

15  Honey  Bees — queen  worker  and 

drone,  with  comb. 

16  Mosquito  and  Eggs. 

17  Proboscis  of  Horse  Fly. 

18  Flea  (of  cat). 

19  Human  Louse. 

20  Walking  Stick. 

TEN  ILLUSTRATIONS  ON  THE 
HONEY  BEE. 

PER  SET,  $20.00. 

1  Queen,  Working  Bee,  Drone,  and 
Comb. 


2  Head  of  the  Worker. 

3  Abdomen  of  the  Worker. 

4  Structure  of  the  Eyes  of  a  Bee. 

5  Proboscis  of  the  Worker. 

6  Wing  and  Hind  Leg  of  Worker. 

7  Sting  of  Worker. 

8  Digestive,  Respiratory,  and  Ner¬ 

vous  System  of  Bee. 

9  Larva  and  Pupa  of  Worker. 

10  Home  of  the  Bees. 

INSECT  METAMORPHOSIS. 

Showing  the  different  stages  of  Transfor¬ 
mations,  with  beautiful  landscapes. 

PER  SLIDE,  $2.50. 

1  Papillio  Machaon. 

2  Yannessa  Io. 

3  Attacus  Lunar. 

4  Teigne  tapezella. 

5  Vespa  Sylvestris. 

6  Anthophora  Personata. 

7  Melontha  Vulgaris. 

8  Lucanus  Cervus. 

9  Hydrophilus  Piceus. 

10  Dysticus  Marginalis. 

11  Cicindela  Campestris. 

12  Calandra  Palmarum. 

13  Phyllium  Siccifolium. 

14  Locusta  Vividissima. 

15  Gryllotalpa  Vulgaris. 

16  iEschna  Maculatissima. 

17  Cicada  Fraxini. 

18  Calliphora  vomitoria  and  Sarco- 

phaga  Carnaria. 

19  Stratiomys  Chamseleo. 

20  Eristalis  tenax. 


Class  XXIV — Arachnida,  Crustacea,  et  Coetera. 


PER  SLIDE,  $2.50. 


SPIDERS,  ARACHNIDA. 

1  Lycosa  tarentula. 

2  Theridion  aphane. 


3  Epeira  diadema,  cornuta,  angu- 

lata,  and  bicornis. 

4  Scorpion  (from  Texas). 

5  Cheese  Mite. 

6  Itch  acarus. 


40 


CRUSTACEA. 

1  Bernard  Hermit  Crab. 

2  Lobster. 

3  Parthenope  Horida. 

4  American  Edible  Crab. 

5  Ranine  Dentata. 

6  Pychnognon  Littorale. 

ENTOMOSTRACANS. 

1  Barnacles. 

2  Limulus  Longispinus. 

3  Daphinia  Pulex  (male  and  fe¬ 

male)  . 

4  Cyclops  Quadricornis. 

5  Water  Fleas,  various  kinds. 

6  Fairy  Shrimp,  Chirocephalus. 

MOLLUSCA. 

1  Paper  Nautilus. 

2  Octopus  or  Poulpe. 

3  Sepia  Officinalis. 

4  Pearly  Nautilus. 


5  Pteroceras  Aporrhais  and  Strom- 

bus. 

6  Murex  Tenuispina  and  Pyrula 

canaliculata. 

7  Harp  Shell. 

8  Mitra  Episcopalis  and  Papalis. 

9  Cypraea. 

10  Turritella,  Scalaria,  and  Verme- 

tus. 

11  Helix  Albolabris. 

12  Pecten  Irradians  and  Mytilus 

Edulis. 

RADIATA. 

1  Holotburia,  or  Sea  Cucumber. 

2  Sea  Urchin. 

3  Star  Fish. 

JELLY  FISH,  OR  ACALEPHS. 

1  Pelagia  Noctiluca. 

2  Cyanea  Euplocamia. 

3  Physalia  Arethusa. 


Class  XXV — Botany. 


VEGETABLE  ANATOMY. 
TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Vertical  section  of  extremity  of 

Root  (highly  magnified) . 

2  Section  of  Leaf,  White  Lily  and 

Oleander  (highly  magnified). 

3  Section  of  Coniferous  Wood,  and 

Glands  (highly  magnified) . 

4  Longitudinal  section  of  portion 

of  Stem  and  Spiral  Vessels. 

5  Lactiferous  vessels  of  Celandine 

and  Fisus  elastica. 

6  A  Sting  of  the  Nettle,  showing 

circulation  of  Sap. 

7  (1)  Air  cells  from  stem  Limno- 

charis  Plumieri :  (2)  ditto, 
showing  open  passages  at  an¬ 
gles  of  cells :  (3)  Epidermis 
of  Oncidium  altissimum :  (4) 
Stomata  of  Croton  variegatum. 

8  Section  of  Elm  Branch. 

9  Section  of  Ash  Branch. 

10  Transverse  and  vertical  section  of 

Negundo,  a  year  ago. 

11  Section  of  Fern  Stem  and  Scala- 

riform  tissue. 


12  Polleen  Grains  (six  varieties). 

13  Polleen  Masses  (Orchis,  Plantan- 

thera,  and  Asclepias). 

14  Starch  Grains  (Potato,  Wheat, 

and  Maize  in  cells) . 

15  Vertical  section  of  Stigma  of 

Ditura. 

10  Conducting  tissue  in  Stigma  of 
Ditura. 

17  Section  of  Ovule  of  Polygonum 

before  and  after  fecundation. 

18  Germination  of  Fern  Spore. 

19  Fern  and  Sporangia. 

20  Spores  and  Sporidia  of  diseased 

grain  of  Wheat. 

BOTANICAL  ILLUSTRATIONS. 
TWENTY  SLIDES,  PER  SET,  $30  00. 

1  Parts  of  a  plant. 

2  Germination. 

3  Roots. 

j  4  Buds  and  Leaves. 

5  Flowers  and  Inflorescence. 

6  Stamens  and  Pistils. 

7  Exogenous  Structure. 

8  Crowfoot  Family,  Columbine,  Ac. 


41 


9  Pink  Family. 

10  Tobacco. 

11  Clover. 

12  Apple. 

13  Rose. 

14  Melon. 


15  Composite  Family,  Chicory  and 

Calliopsis. 

16  Oak. 

17  Fir  and  Hemlock  Spruce. 

18  Endogenous  Structure. 

19  Date  Palm. 

20  White  Garden  Lily. 


Class  XXVI — Flowers  and  Plants. 


Skeleton  leaves  are  very  beautiful  when 
leaves,  petals,  &c.,  show  very  well. 

TWENTY  SLIDES,  PER  SET,  $30.00. 

1  The  White  Lily. 

2  Lily  of  the  Yalley. 

3  Holly. 

4  Boursalt  Rose. 

5  Fuschia. 

6  Amaryllis  Johnsoni. 

7  Dahlia  Yariabilis. 

8  Strawberry,  Flower  and  Fruit. 

9  Camilla  Japonica. 

10  Oleander. 

11  Magnolia  and  Passion  Flower. 

12  Chrysanthemum. 

13  Venus’  Fly  Trap. 

14  Peony. 

15  Japanese  White  Lily. 

16  Fruit  Piece. 

17  Nasturtion. 

18  Yiolets. 

19  “Consider  the  Lilies,”  (with 

text) . 

20  White  Pond  Lily. 

per  slide,  $2.00. 

21  Sarracenia  Purpurea. 

22  Pelargonium. 

23  Almond,  Flower  and  Fruit. 

24  Pomegranate. 

25  Figs  and  Olives. 

26  Rose. 

27  Bunch  of  Roses. 

28  Rudbekia  Speciosa,  Antirrhinum 

majus,  Lilium  Lancifolium. 

29  Pine  Apple. 

30  Scarlet  Geranium. 

31  Cattleya  Superba. 


thrown  upon  the  screen,  and  even  ordinary 


32  Figs. 

33  Cactus  Triangulaire  and  Gayac 

Officinale. 

34  Rose  and  Buds. 

35  Citrus  Aurantium. 

36  Bunch  of  Fruit. 

37  Stock  Gillyflower. 

38  Blackberry. 

39  Passion  Flower. 

40  Viburnum  Opulus  and  Mespilus 

Germanica 

41  Wellingtonia  Gigantea. 

42  Cactus  (six-sided). 

43  Hyacinth. 

44  Tulip. 

45  The  Banyan  Tree. 

46  Wreath  of  Flowers. 

47  Clover. 

48  Tobacco  Plant. 

49  The  Date  Palm. 

50  Mountain  Vegetation  of  Java. 


IMPORTANT  PLANTS  USEFUL  TO  MAN. 

51  Black  Pepper — Piper  nigrum. 

52  Cinnamon — Laurus  cinnamo- 

mum. 

53  Nutmeg—  Myristica  moschata. 

54  Clove — Caryophyllus  aromaticus 

55  Coffee — Coffea  Arabica. 

56  Tea — Thea  Bohea  and  viridis. 

57  Cocoa — Theobroma  Cacao. 

58  Vanilla — Vanilla  aromaticus. 

59  Opium  Poppy — Papaver  somni- 

ferum. 

60  Peruvian  Bark — Cinchona  cor- 

difolia. 


42 


Class  XXVII— Physical  Geography. 

From  the  best  authorities. 


PER  SLIDE,  $2.50. 


1  Forms  of  Snow  Crystals. 

2  Glacier  in  Western  Norway. 

3  Niagara. 

4  Great  Fall — Yosemite. 

5  Canon. 

6  Coral  Reef. 

7  Water  Spout. 

8  Group  of  Palms. 

9  African  Scene. 

10  Tropical  Vegetation. 

11  Banian  Tree. 

12  Varieties  and  Distribution  of 

Man. 

ILLUSTRATIONS  TO  HUMBOLDT’S 
COSMOS. 

13  Aurora  Borealis. 

14  Midnight  Sun  at  the  North  Cape. 


15  Plutonic  Rocks, Hartz  Mountains, 

Germany. 

16  Plutonic  Rocks.  Rock  laby¬ 

rinths,  near  Baden. 

17  Primary  Rocks.  Burning  Moun¬ 

tain,  near  Duttwelles. 

18  Primary  Rocks.  The  Lurley 

Rock,  on  the  Rhine. 

19  Volcanic  Rocks.  Isola  della 

Frizza. 

20  Secondary  Rocks.  The  Rock  of 

Gibraltar. 

21  Secondary  Rocks.  Chalk  Moun¬ 

tains  in  Dorsetshire. 

22  Secondary  Rocks.  The  Biel- 

grund,  near  Dresden. 

23  Tertiary  Rocks.  Tivoli. 

24  Alluvial  and  Diluvial  Deposits. 

The  Valley  of  the  Nile. 


Class  XXVIII— Astronomy. 


FORTY-ONE  PAINTINGS,  ON  TWELVE 
LONG  SLIDES. 

PER  SET,  $25.00. 

Packed  in  a  box,  with  descriptive  book. 

1  The  Earth’s  Rotundity  (lever 

movable). 

2  New  Moon. 

3  New  Moon.  First  Quarter. 

4  Full  Moon. 

5  The  Moon’s  Phases. 

6  Telescopic  View  of  the  Sun. 

7  Telescopic  View  of  Mercury. 

8  Telescopic  View  of  Venus. 

9  The  Earth  and  Moon. 


10  Telescopic  View  of  Mars. 

11  Telescopic  View  of  Vesta,  Juno, 

Ceres  and  Pallas. 

12  Telescopic  View  of  Jupiter  and 

his  Moons. 

13  Telescopic  View  of  Saturn  and 

his  Moons. 

14  Telescopic  View  of  Saturn  with 

rings  edgewise  and  his  Moons. 

15  Telescopic  View  of  Uranus  and 

his  Moons. 

16  Orbit  of  a  Comet. 

17  Comet  of  1819. 

18  Comet  of  1811. 

19  Comet  of  1860. 

20  Solar  System  of  Ptolemy. 

21  Solar  System  of  Copernicus. 


43 


22  Solar  System  of  Tycho  Brahe. 

23  Solar  System  of  Newton. 

24,  25  The  Sun’s  Magnitude. 

26  Eclipse  of  the  Moon. 

27,  28  Eclipse  of  th%  Sun. 

29  The  Moon’s  Orbit. 

30  Different  Eclipses  of  the  Moon. 

31  The  Seasons. 

32  The  Zodiac. 

33  Spring  Tide  at  New  Moon. 

34  Spring  Tide  at  Full  Moon. 

35  Neap  Tide. 

36,  37  Constellation  Ursa  Major. 
38,  39  Constellation  Orion. 

40  The  Milky  Way. 

41  Nebulae. 


MOVABLE  DIAGRAMS. 

The  motion  produced  by  rack -work. 

TEN  SLIDES,  PER  SET,  $40.00. 
Packed  in  a  box,  with  lock  and  key. 

1  The  Solar  System,  showing  the 

Revolution  of  all  the  Planets, 
with  their  Satellites,  round  the 
Sun. 

2  The  Earth’s  Annual  Motion 

round  the  Sun,  showing  the 
Parallelism  of  its  axis,  thus 
producing  the  Seasons. 

3  The  Cause  of  Spring  and  Neap 

Tides,  and  the  Moon’s  Phases, 
during  its  revolution. 

4  The  Apparent  Direct  and  Retro¬ 

grade  Motion  of  Yenus  or  Mer¬ 
cury,  and  also  its  Stationary 
appearance. 

5  The  Earth’s  Rotundity,  proved 

by  a  Ship  sailing  round  the 
Globe,  and  a  line  drawn  from 
the  eye  of  an  observer  placed 
on  an  eminence. 

6  The  Eccentric  Revolution  of  a 

Comet  round  the  Sun,  and  the 
appearance  of  its  Tail  at  dif¬ 
ferent  points  of  its  Orbit. 

7  The  Diurnal  Motion  of  the  Earth, 

showing  the  Rising  and  Setting 
of  the  Sun,  illustrating  the 
cause  of  Day  and  Night,  by 
the  Earth’s  rotation  upon  it* 
Axis. 


8  The  Annual  Motion  of  the  Earth 

round  the  Sun,  with  the 
Monthly  Lunations  of  the 
Moon. 

9  The  Various  Eclipses  of  the  Sun 

with  the  Transit  of  Yenus  ;  the 
Sun  appears  as  seen  through  a 
Telescope. 

10  The  various  Eclipses  of  the 
Moon ;  the  Moon  appears  as 
seen  through  a  Telescope. 

Illustrating  tbe  Moon.  Its  Topography, 
Scenery,  &c.,  witb  a  Familiar  Descriptive 
Lecture. 

TEN  SLIDES,  PER  SET,  $15  00. 

1  Map  of  the  Moon.  (Beer  and 

Madler.) 

2  Diagram  illustrating  Refraction. 

3  The  Earth,  as  seen  from  the 

Moon. 

4  Telescopic  View  of  the  Full  Moon 

5  Telescopic  View  of  the  Moon, 

first  quarter. 

6  Telescopic  View  of  the  Moon, 

last  quarter. 

7  Telescopic  View  of  the  Moon, 

past  last  octant. 

8  Environs  of  Tycho  (from  a  Pho¬ 

tograph  by  W.  de  la  Rue). 

9  Region  S.  E.  of  Tycho. 

10  View  of  Copernicus  (Naysmith). 

TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Solar  System. 

2  Phases  and  Apparent  Dimensions 

of  Venus  at  its  extreme  and 
mean  distance  from  the  Earth. 

3  Inclination  of  the  Axis  of  the 

Planets — Venus,  Earth,  Mars, 
Jupiter,  and  Saturn. 

4  Diagram  illustrating  Refraction. 

5  Parallels,  Meridians,  and  Zones. 

6  True  and  mean  Place  of  a  Planet 

in  its  Orbit. 

7  Signs  of  the  Zodiac. 

8  Telescopic  View  of  the  Full  Moon 

9  Telescopic  View  of  the  Moon  past 

the  last  Quarter. 

10  Cause  of  the  Moon’s  Phases. 

11  Mountains  on  the  Moon. 

12  Inclination  of  the  Moon’s  Orbit. 


44 


13  Diagram  to  explain  Eclipses. 

14  Illustration  of  the  Tides. 

15  Telescopic  View  of  Mars. 

16  Telescopic  View  of  Jupiter. 

17  Telescopic  View  of  Saturn. 

18  Comet  of  3811. 

19  Comparative  Size  of  the  Sun  and 

Planets. 

20  Star  Cluster  of  Resolvable  Neb¬ 

ulae. 

per  slide,  $2.00. 

21  Bird’s-eye  View  of  Saturn  and 

its  ring  system. 

22  Saturn,  luminous  points  visible 

near  the  period  of  the  disap¬ 
pearance  of  the  rings. 

23  Telescopic  View  of  Saturn. 

24  Comparative  size  of  Saturn  and 

the  Earth. 

25  Telescopic  View  of  the  Moon,  a 

little  before  last  quarter. 

26  Telescopic  View  of  the  Moon, 

just  before  the  full. 

27  Scenery  on  the  Moon. 

28  Mountains  of  the  Moon  ;  view  of 

the  region  southeast  of  Tycho. 

29  Comparative  size  of  Sun,  the 

Earth  and  Moon’s  Orbit. 


30  Eclipses  and  passages  of  the 

Satellites  of  Jupiter,  seen  from 
the  Earth. 

31  Parallax. 

32  Direct  and  retrograde  motion  of 

Mercury  and  Venus. 

33  The  apparent  size  of  the  Sun 

seen  from  the  principal  Planet. 

34  Egyptian  Zodiac. 

35  The  Micrometer. 

36  Discovery  of  a  small  Planet  by 

means  of  Ecliptic  Charts. 

37  Ecliptic  Chart.  From  M.  Cha- 

cornac’s  “  Star  Atlas.’’ 

38  Herschel’s  40  feet  Telescope. 

39  Measure  of  the  distance  of  an 

inaccessible  object. 

40  Deformation  of  the  Sun’s  limb  at 

sunset. 

41  Convexity  of  the  Ocean. 

42  Solar  Cyclone,  May  5,  1857. 

(Secchi.) 

43  Donati’s  Comet. 

44  Spiral  Nebulse  in  Virgo.  (Rosse.) 

45  Nebulae  in  Andromeda. 

46  Elliptical  annular  nebula  of  the 

Lion.  (Herschel.) 

47  Spiral  Nebulae  in  Canes  Venatici. 

(Rosse.) 

48  Lunar  Crater. 


Class  XXIX— Geology. 


17  Ichthyosaurus. 

18  Pterodactyl. 

19  Fossil  Footmarks. 

20  The  Mammoth  Restored. 


TWENTY  SLIDES,  PER  SET,  $30.00. 

1  The  Geological  Record. 

2  Ideal  Section  of  the  Earth’s 

Crust. 

3  Thickness  of  the  Earth’s  Crust. 

4  Section  of  a  Volcano  in  action. 

5  Fingal’s  Cave. 

6  Grotto  of  Antiparos. 

7  Glacier — Mt.  Rose. 

8  Glacier  Tables. 

9  Coral  Island. 

10  Corals. 

11  Rain  Drop  Marks. 

12  Trilobites. 

13  Ammonites. 

14  Pterichthys — Cocostes,  Cephalas- 

pis. 

15  Fossil  Fern — impression  of. 

16  A  Thrust — in  a  Coal  Mine. 


per  slide,  $2.00. 

21  Skeleton  of  Megatherium. 

22  Sigillaria. 

23  Lepidodendron. 

24  Tracks  (the  Stone  Books). 

25  Bone  Cavern,  Wirksworth,  Eng. 

26  Skeleton  of  Hydrarchos  Harlanii. 

27  Pentacrinites  Briareus. 

28  Apiocrinites  and  Actinocrinites. 

29  Forest  of  the  Coal  Period. 

30  Dinornis  Mantelii. 

31  Foraminifera  (from  Atlantic 

soundings). 

32  Lava  Arch,  Iceland. 


45 


33  Section  of  the  Cavern  of  Gailen- 

reuth  (Hartz.) 

34  Sandstone  Columns  in  Switzer¬ 

land. 

35  Skull  of  Mosasaurus. 


36  Temple  of  Serapis  (Pozzuolo). 

37  The  Dodo  (an  extinct  bird.) 

38  Convoluted  Strata. 

39  Skeleton  of  Ichthyosaurus. 

40  Diplacanthus  Striatus. 


Class  XXX — Natural  Phenomena. 

TWENTY  SLIDES,  PER  SET,  $45.00. 


1  Rainbow. 

2  Tempest. 

3  Aurora  Borealis. 

4  Halos. 

5  Fata  Morgana. 

6  Will  of  the  Wisp. 

7  Water  Spouts. 

8  Sand  Storm. 

9  Geysers. 

10  Falls  of  Niagara. 


11  Drooping  Well. 

12  Coral  Reefs. 

13  Caverns. 

14  Fingal’s  Cave. 

15  Perforated  Rocks. 

16  Glacier,  Mt.  Rose. 

17  Glacier  Tables. 

18  Icebergs. 

19  Volcanos. 

20  Prairie  on  Fire. 


Class  XXXI — Anatomy  and  Physiology. 

TWENTY  SLIDES,  PER  SET,  $30.00. 


1  Human  Skeleton. 

2  Human  Skull. 

3  Section  of  the  Spine,  &c. 

4  Teeth,  and  structure  of  same. 

5  Muscles,  front  view. 

6  Muscles,  back  view. 

7  Muscles  of  the  head,  neck,  and 

face. 

8  General  view  of  the  Digestive 

Organs,  in  place. 

9  The  Digestive  Organs. 


10  The  Stomach,  Liver,  and  Pan¬ 

creas. 

11  The  Thoracic  Duct. 

12  Heart  and  Lungs. 

13  Diagram  of  Circulation. 

14  Skin  and  structure  of  same. 

15  Brain  and  Spinal  Cord. 

16  General  view  of  the  Nerves. 

17  Fifth  Pair  of  Nerves. 

18  Facial  Nerves. 

19  Diagram  of  the  Eye. 

20  Anatomy  of  the  Ear. 


A  set  of  22  slides  on  Anatomy,  copied  from  22  plates  in  Iconographic 
Encyclopedia  (from  plate  119  to  plate  140  inclusive),  on  glass  three  inches 
square.  These,  and  illustrations  of  which  we  have  the  negatives,  will  be 
furnished  at  $2.50  each.  Illustrations  of  which  the  negatives  must  be 
made  to  order,  will  be  furnished  at  $3  each. 


Class  XXXII — Microscopic  Anatomy. 

TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Tessellated  and.  Ciliated  Epithe-  1  3  Longitudinal  and  transverse  sec- 

lial  Cells.  |  tions  of  Bone,  Lacunae,  and 

2  Human  Blood  Discs,  and  Blood  I  Canaliculi,  highly  magnified. 

Discs  of  Frog. 


46 


4  Muscular  Fibres,  Fasciculus,  and 

Sarcolemma. 

5  Vertical  and  horizontal  section 

of  Stomach,  Follicles,  and 
Tubes. 

6  (A)  Capillary  Circulation  of 

Frog’s  Foot;  (B)  Capillaries 
of  Air  Cells  of  Human  Lungs  ; 
(C)  Capillaries  of  Villi  of  the 
jejunum. 

7  Origin  of  Hepatic  Veins  and  Bile 

Ducts  of  the  Liver  Lobules. 

8  A  Human  Malpighian  Corpuscle 

and  transverse  section  of  Su- 
pra-renal  Capsule. 

9  Nerve  Tubes,  Cells,  and  Ganglia. 
10  Transverse  section  of  Human 

Spinal  Cord,  close  to  the  third 
and  fourth  Cervical  Nerves. 


11  Pus ;  (A)  from  Abscess  ;  (B)  Mu¬ 

cus  Corpuscles  from  Schnei¬ 
derian  Membrane  ;  (C)  Mucus 
Corpuscles  speckled  -with  Pig¬ 
ment  Granules  from  Larynx. 

12  TJrinary  Deposits;  (A)  Uric 

Acid  ;  (B)  Oxalate  of  Lime  ; 
(C)  Triple  Phosphate. 

13  Fatty  Degeneration  of  the  Liver. 

14  Tubercle  ;  (A)  in  Air  Cells  of 

Lungs ;  (B)  Miliary. 

15  Scirrhous  Growth  from  Mam¬ 

mary  Gland. 

16  Taenia  Solium. 

17  Oxyuris  Solium. 

18  Trichina  Spiralis,  mature  and  in 

cyst. 

19  Liver  Fluke,  Distoma  hepaticum. 

20  Thrush  Fungus,  Oidium  albi¬ 

cans. 


Class  XXXIII— Optics. 

TWENTY  SLIDES,  PER  SET,  $30.00. 


1  Reflection  of  Light. 

2  Formation  of  Image  by  Plane 

Mirror. 

3  Foci  of  Concave  Mirrors. 

4  Formation  of  Image  by  Concave 

Mirror. 

5  Do.  by  Convex  Mirror. 

6  Refraction  of  Light. 

7  Laws  of  Refraction  and  total  Re¬ 

flection. 

8  Refraction  in  Body  with  Parallel 

Sides. 

9  Forms  of  Lenses. 

10  Formation  of  Image  by  Convex 
Lens. 


11  Formation  of  Image  by  Convey 

Lenses. 

12  Do.  by  Concave  Lens. 

13  Spherical  Aberration. 

14  Action  of  Prism — Chromatic  Dis¬ 

persion. 

15  Chromatic  Aberration — Achrom¬ 

atic  Prism  and  Lens. 

16  Diagram  to  explainWave  Lengths 

17  Double  Refraction — Iceland  Spai 

— Nichol  Prism. 

18  Polariscope,  &c. 

19  Colored  Rings  in  Uniaxial  Crys¬ 

tals  with  Polarized  Light. 

20  Do.  in  Unannealed  Glass  Cube. 


Class  XXXIV— The  Microscope  and  its  Revelations. 


TWENTY  SLIDES,  PER  SET,  $30.00. 

1  Tolle’s  Student’s  Microscope. 

2  Collins’  Binocular  Microscope. 

3  Diagrams.  No.  1.  Compound 

Microscope.  2.  Huyghenian 
Eyepiece.  3.  Ramsden  Eye¬ 
piece.  4.  Chromatic  Aberra¬ 
tion. 


4  Diagrams.  No.  1.  Simple  Micro 

scope.  2.  Spherical  Aberra¬ 
tion.  3.  Diaphragm.  4.  Ach¬ 
romatic  Objective.  5.  High 
and  Low  Angle  of  Aperture. 

5  Sheep  Tick. 

6  Human  Head  Louse. 

7  Dog  Flea. 

8  Larva  of  Mosquito. 


47 


9  Head  of  Male  Mosquito. 

10  Leg  of  Blow  Fly. 

11  Eye  of  Horse  Fly. 

12  Portion  of  Wing  of  House  Fly. 

13  Scales  from  Wing  of  Moth. 

14  Wool  Fibres. 

15  Section  of  Wheat  Straw. 

16  Heliopeltea. 

17  Fine  Muslin — showing  Cotton 

Fibre. 

18  Foot  of  Fly — showing  Structure 

of  Pads. 

19  Proboscis  of  Fly — Anthromya 

Lardaria. 

20  Saws  of  Saw  Fly. 

Additional  Photographs  of  Microscopic 
Objects  enlarged  from  Nature. 

PER  SLIDE,  $2.00. 

21  The  Human  Louse. 

22  The  Crab  Louse. 

23  The  Bedbug. 

24  The  Flea. 

25  The  Fly. 

26  Marine  Algae. 

27  Hunting  Spider. 

28  Parasite  of  Chicken. 

29  The  Common  Mosquito. 


30  Eye  of  Fly. 

31  Sting  of  Bee. 

32  Human  Itch  Insect. 

33  Tongue  of  a  Hornet. 

34  Tongue  of  a  Bee. 

35  Parasite  from  a  Fig. 

36  Parasite  from  a  Sparrow. 

37  Scale  from  the  Wing  of  a  Butter¬ 

fly- 

38  Parasite  of  a  Beetle. 

39  Parasite  of  a  Chaffinch. 

40  Parasite  of  a  Field  Mouse. 

41  Parasite  of  a  Swallow. 

42  Parasite  of  a  Mole. 

43  Flea  of  a  Mole. 

44  Flea  of  a  Mole  Pigeon. 

45  Eye  of  a  Beetle. 

46  Gizzard  of  a  Cricket. 

47  Water  Beetle. 

48  Leaf  Insect. 

49  Scale  from  the  Wing  of  a  Moth. 

50  Saw  of  the  Saw  Fly. 

51  Spiracle  of  a  Cockchafer. 

52  Tongue  of  a  Drone  Fly. 

53  Trachea  of  a  Silk  Worm. 

54  Tongue  of  a  Hornet. 

55  Transverse  Section  of  Bone. 

56  Scale  of  a  Fish. 

57  Human  Blood  Corpuscles 

58  Section  of  a  Tooth. 


Class  XXXV — Crystallography. 

Arranged  as  in  Roscoe’s  Chemistry. 

TEN  SLIDES,  PER  SET,  $15.00. 


1  The  Primary  Forms  of  the  Six 

Systems. 

2  Secondary  Forms  of  the  First  or 

Regular  System. 

3  Secondary  Forms  of  the  Second 

or  Quadratic  System. 

4  Secondary  Forms  of  the  Third  or 

Hexagonal  System. 


5  Secondary  Forms  of  the  Fourth 

or  Rhombic  System. 

6  Secondary  Forms  of  the  Fifth  or 

Monoclinic  System. 

7  Secondary  Forms  of  the  Sixth  or 

Triclinic  System. 

8  Ice  Flowers  (Tyndall). 

9  Snow  Crystals. 

10  Ice  Crystals. 


Class  XXXVI — Spectrum  Analysis. 

TWENTY  SLIDES,  EACH,  $2.75. 


1  Decomposition  of  Light  by  Prism 

(Solar  Spectrum). 

2  Comparative  Intensity  of  Heat¬ 

ing  Luminous  and  Chemically 
Active  Rays  in  Spectrum. 


3  Fraunhofer’s  Map  of  Solar  Spec¬ 

trum.  (1814-15.) 

4  The  Spectroscope. 

5  Spectra  of  the  Sun,  Beta  Cygni, 

and  Hydrogen. 


48 


6  Spectra  of  Potassium,  Rubidium, 

Sodium,  and  Lithium. 

7  Spectra  of  Carbon  Comet  II, 

Brorsen’s  Comet  (1868)  , Spark 
and  Nebulm. 

8  Spectra  of  Aldebaran,  and  Alpha 

Orionis. 

9  KirchofFs  Map  (from  194  to  220) 

and  Rutherford’s  Photograph 
of  same. 

10  Spectra  of  Chlorophyll,  Chloride 

of  Uranium,  Magenta,  and 
Blood. 

11  Gassiot’s  Spectroscope.  Made 

by  Browning. 


12  Huggin’s  Map  of  Metallic  Lines, 

from  320  to  2790. 

13  Huggin’s  Map  of  Metallic  Lines, 

from  2790  to  5250. 

14  Huggin’s  Star  Spectroscope. 


MAP  OF  SOLAR  SPECTRUM. 

15  Prom  38  to  101. 

16  From  100  to  163. 

17  From  162  to  225. 

18  From  224  to  287. 

19  From  283  to  345. 

20  From  344  to  406. 


Magarge  Paper  Mills. 


ALONG  THE  WISSAHICKON. — Perhaps  no  city  in  the  United  States 
has  more  interesting  and  romantic  surroundings  than  Philadelphia.  Not  only  is  the  city 
itself  the  very  birthplace  of  American  Independence,  but  its  suburbs  are  all  full  of  his¬ 
toric  incidents,  and  the  country  round  about  even  yet,  in  many  places,  shows  the  marks 
of  our  Revolutionary  strvmgle.  The  Wissahickon  is  a  stream  of  most  romantic  beauty, 
made  doubly  attractive  by  being  but  an  hour’s  ride  distant,  either  by  carriage  or  street  car,, 
from  the  heart  of  the  busy  city. 


49 


PLAIN  SLIDES 


Pictures  enumerated  in  the  foregoing  lists  are  beautifully  colored  by  the 
best  artists,  and  are  set  in  wooden  frames.  Some  fine  pictures  may  have 
been  overlooked  in  making  the  selections,  and  new  pictures  of  surpassing 
merit,  both  colored  and  plain,  will  doubtless  be  multiplied  as  the  demand 
increases.  Views  of  every  variety  in  the  market,  whether  herein  enumer¬ 
ated  or  not,  will  be  furnished  at  the  cheapest  rates. 

As  before  intimated,  plain  lantern  transparencies,  of  varying  degrees  of 
merit,  are  brought  out  by  an  increasing  number  of  photographers  ;  a  par¬ 
ticular  catalogue  of  them  will  not  be  attempted,  as  the  lists  of  to-day 
might  not  be  such  as  we  would  like  to  stand  by  to-morrow. 

There  is  a  growing  demand  for  plain  photographic  transparencies  from 
nature,  made  in  the  best  style  of  art,  and  the  wish  is  often  expressed  that 
such  should  be  sold  at  less  than  a  dollar  each.  It  will  be  seen  below  that 
a  beginning  has  been  made  by  marking  a  class  of  views  of  the  finest 
quality  at  $9  a  dozen. 

Plain  photographs  with  their  protecting  glass  covers  are,  for  the  most 
part,  bound  with  narrow  binding  of  paper  or  cloth.  They  are  more  liable 
to  be  broken  than  those  bound  in  wood,  and  more  liable  to  be  put  in  the 
lantern  in  a  wrong  position  ;  but  they  occupy  less  space,  and,  with  a 
grooved  slide,  they  may  be  passed  along,  one  after  another,  very  con¬ 
veniently. 

Plain  foreign  views  are  mostly  in  the  form  of  half  a  stereograph,  and  are 
sold  at  $2  each.  Any  of  them  will  be  supplied  when  called  for  if  they  are 
in  this  market.  Their  number  is  too  large  to  be  enumerated  here,  and 
such  as  for  their  clearness  and  excellence  one  would  choose  for  a  select 
list,  would  be  the  very  ones  in  most  danger  of  not  being  in  supply  when 
called  for. 


Class  XXXVII — Statuary  and  Bas  Reliefs. 

Square  pictures  in  narrow  bindings,  copied  directly  from  the  marbl 
PER  SLIDE,  $1.00  ;  PER  DOZEN,  $9.00. 

1 

2 

3 

4 

5 

6 


Apollo,  Bust. 

Ariadne,  Bust. 

Ariadne  and  the  Infant  Bacchus. 
Ariadne  on  the  Sea  Dog. 

At  the  Bath. 

Birth  of  Venus. 


7  Blind  Homer  and  his  young  Com¬ 

panion. 

8  Burd  Family  Monument,  St.  Ste¬ 

phen’s  Church,  Philadelphia. 

9  Breaking  Cupid’s  Bow. 

10  Cupid,  Bust. 


4 


50 


11  Cupid  Awake. 

12  Cupid  Asleep. 

13  Ceres. 

14  Descent  from  the  Cross. 

15  Evangeline. 

16  Egyptian  Girl. 

17  Flora. 

18  Greek  Slave. 

19  Greek  Slave,  Reflected. 

20  Gibson’s  Yenus. 

21  Goddess  of  Music. 

22  Holy  Family. 

23  Leda  and  Swan. 

24  Lesbie  and  the  Sparrow. 

25  Lighting  the  Lamp  of  Silence. 

26  Mendicants. 

27  Musicians. 

28  Our  Saviour,  Bust. 

30  Pet*er.  }  Michael  Angelo. 

31  Penelope. 


32  Prayer. 

33  Prodigal  Son. 

34  Psyche,  Bust. 

35  Rebekah  at  the  Well. 

36  Reading  Girl. 

37  Red  Riding  Hood. 

38  Rock  of  Ages. 

39  Simply  to  Thy  Cross  I  Cling. 

40  Statue  of  Washington,  front  of 

Independence  Hall. 

41  The  Amazon  and  the  Wild  Horse. 

42  The  Four  Seasons — Spring. 

43  The  Four  Seasons — Summer. 

44  The  Four  Seasons — Autumn. 

45  The  Four  Seasons — Winter. 

46  The  Little  Torch  Bearers. 

47  The  Wasp. 

48  Una  and  the  Lion. 

49  Venus. 

50  Young  Student  Reading. 

51  Young  Student  Writing. 


Class  XXXVIII— American  Views. 

Plain  Photographs,  three  inches  square,  from  nature. 
PER  SLIDE,  $1.00  ;  PER  DOZEN,  $9.00. 


PHILADELPHIA. 

1  Academy  of  Music. 

2  Horticultural  Hall. 

3  Independence  Hall. 

4  New  Masonic  Temple. 

5  New  Masonic  Hall. 

6  Custom  House. 

7  Exchange. 

8  Farmers’  Market. 

9  Girard  College. 

10  Ledger  Building. 

11  Mercantile  Library. 

12  Post  Office. 

13  University  of  Pennsylvania. 

14  United  States  Mint. 

15  Beth  Eden  Church. 

16  Cathedral  of  St.  Peter  and  St. 

Paul. 

17  Interior  of  the  Cathedral. 

18  Holy  Trinity. 

19  Jewish  Synagogue,  Broad  Street. 

20  Lutheran  Church,  Franklin  St. 

21  Methodist  Church,  Broad  and 

Arch  Streets. 

22  St.  Clement’s. 


23  St.  James  the  Less. 

24  St.  Stephen’s. 

25  Continental  Hotel. 

26  Girard  House. 

27  La  Pierre  House. 

28  Union  League  House. 

29  Chestnut  Street. 

30  Chestnut  Street  Bridge. 

31  Market  Street. 

32  Market  Street  Bridge. 

33  Fairmount  Water  Works. 

FAIRMOUNT  PARK  VIEWS. 

34  Arnold’s  House. 

35  Belmont  Mansion. 

36  Belmont  Glen. 

37  Broad  Street  Entrance. 

38  Entrance  to  Drive. 

39  Ferndale  Pool. 

40  From  Old  Park. 

41  From  Mouth  of  Wissahickon 

42  George’s  Hill. 

43  Graff  Monument. 

44  Grant’s  Cabin. 

45  In  the  Old  Park. 


51 


46  Lansdowne  Valley. 

47  Lincoln  Statue. 

48  Lemon  Hill  Mansion. 

49  Lemon  House. 

50  Lover’s  Walk. 

51  North  from  Basin. 

52  North  from  Sweet  Brier 

53  North  from  Laurel  Hill. 

54  On  the  Schuylkill. 

55  Play  Ground. 

56  River  Scene. 

57  Sweet  Brier  Valley. 

58  Summer  House. 

59  South  from  the  River  Road. 

60  The  Spring. 

61  Through  the  Arch. 

62  At  Allen’s  Lane,  Wissahickon. 

63  At  Kitchen’s  Mill, 

64  Above  Rittenhouse  Lane,  “ 

65  Miller’s  Home,  “ 

66  Near  Hermit’s  Glen,  “ 

67  Old  Log  Cabin,  “ 

68  Valley  Green  Bridge,  “ 

69  Valley  G;reen  Hotel,  “ 

70  Laurel  Hill  Cemetery. 

71  Entrance  to  Laurel  Hill. 

72  Oldldortality. 

73  Entrance  to  Mt.  Vernon  Ceme¬ 

tery. 

74  Gardell  Monument,  Mt.  Vernon. 

75  Entrance  to  Woodland. 

76  Bailey  Monument. 

BOSTON. 

77  Boston  Common. 

78  Bunker  Hill  Monument. 

79  Brattle  Street  Church. 

80  Custom  House. 

81  Eaneuil  Hall. 

82  Fountain  Public  Gardens. 

83  Masonic  Hall. 

84  Old  Elm. 

85  Old  State  House. 

86  Public  Gardens. 

NEW  YORK  CITY. 

87  Broadway. 

88  City  Hall. 

89  Custom  House. 

90  General  Worth’s  Monument.  | 

91  Opera  House. 

92  Sub  Treasury  Building. 

93  Washington’s  Statue, Union  Park 


BALTIMORE. 

94  Battle  Monument. 

95  St.  Peter’s  Church. 

WASHINGTON,  D.  C. 

96  Capitol  Building. 

97  Interior  of  the  Senate  Chamber. 

98  Interior  of  the  House  of  Repre¬ 

sentatives. 

99  Pennsylvania  Avenue. 

100  Patent  Office. 

101  Interior  of  Patent  Office. 

102  Post  Office. 

103  Smithsonian  Institute. 

104  Statue  of  General  Jacksen,  front 

of  White  House. 

105  White  House. 

106  Washington’s  Statue,  front  of 

Capitol. 

WISCONSIN. 

107  Indian  Lodge. 

108  Kinnikinnick  Falls. 

109  Minneanola  Falls. 

110  Minnehaha  Falls,  Minnesota. 

111  Dalles  of  St.  Croix. 

WHITE  MOUNTAINS. 

112  Mount  Washington. 

113  View  of  the  Summit  House. 

1 14  Tip-top  House,  summit  of  Mount 

Washington. 

115  Willey  House. 

116  Willey  Family  Furniture. 

117  The  Basin,  Franconia  Notch. 

118  The  Flume,  “  “ 

119  The  Pool,  “  “ 

120  Walker’s  Falls,  “  “ 

121  Profile, Old  Man,  “  “ 

122  White  Mountain  Notch. 

123  Pulpit  Rock. 

124  Bridal  Veil  Falls,  White  Moun¬ 

tain  Vicinity. 

125  Frozen  Fountain,  30  feet  high. 

126  Frozen  Falls,  300  or  400  feet 

high. 

127  Ice  Stalactites. 


128  New  Post-Office,  Portland,  Me., 
White  Marble, cost  $15,000,- 
000. 


52 


129  Daniel  Webster’s  Place,  Frank¬ 

lin,  N.  H.,  now  used  as  an  Or¬ 
phan  Asylum. 

130  Old  Mossy  Dam,  Thornton,  N.H. 


131  Washington’s  Residence,  Mount 
Vernon. 


132  Washington’s  Tomb,  Mount 

Vernon. 

133  Delaware  Water  Gap,  six  views. 

134  Catawissa  Island,  four  views. 

135  Washington’s  Headquarters, 

Valley  Forge. 

136  Ringtown  Bridge,  Catawissa 

Railroad. 


Class  XXXIX — Hymns. 

Hymns,  &c.,  will  be  photographed  to  order. 
PER  SLIDE,  $1.00  ;  PER  DOZEN,  $9.00. 


1  All  Hail  the  Power  of  Jesus’ 

Name. 

2  Around  the  Throne  of  God  in 

Heaven. 

3  A  Beautiful  Land  by  Faith  I  See. 

4  Beautiful  Zion,  Built  Above. 

5  Beautiful  River. 

6  Beyond  the  Smiling  and  the 

Weeping. 

7  Christ  our  Leader. 

8  Climbing  up  Zion’s  Hill. 

9  Come,  Let  us  Sing  of  Heaven 

Above. 

10  From  Greenland’s  Icy  Moun¬ 

tains. 

11  Good  Shepherd,  Grant  Thy  Bless¬ 

ing. 

12  Hark,  the  Morning  Bells  are 

Ringing. 

13  I  Have  a  Father  in  the  Promised 

Land. 

14  I  Have  a  Saviour — He’s  Pleading 

in  Glory. 

15  In  the  Christian’s  Home  in  Glory. 

16  I  Heard  a  Voice,  the  Sweetest 

Voice. 


17  I’m  a  Pilgrim  and  I’m  a  Stranger 

18  Jerusalem  the  Golden. 

19  Jerusalem  so  Bright  and  Fair. 

20  Out  on  an  Ocean  all  Boundless 

we  Ride. 

21  One  by  One  the  Sands  are  Flow¬ 

ing. 

22  Over  the  River. 

23  Rock  of  Ages. 

24  Saviour,  Like  a  Shepherd  Lead 

us. 

25  Shout  the  Tidings  of  Salvation. 

26  Shall  we  Meet  Beyond  the  River. 

27  Sweet  Hour  of  Prayer. 

28  Sound  the  Battle-Cry. 

29  There  is  a  Happy  Land. 

30  They  are  Waiting  for  Thy  Com- 

ing. 

31  The  Golden  Shore. 

32  There’s  a  Better  Way. 

33  We  are  Strong. 

34  We  are  Marching  On. 

35  Work,  for  the  Night  is  Coming. 

36  Water  of  Life. 

37  While  Shepherds  Watch  their 

Flocks  by  Night. 


53 


WOODBUKY  SLIDES. 


Class  XL — Excelsior  Magic  Lantern  Slides,  made  by  the 
Woodbury  Process. 

According  to  the  best  judges  these  views  are  finer  and  more  beautiful 
than  any  plain  slides  hitherto  produced,  American  or  foreign. 

Reducing  the  price  of  fine  lantern  pictures  from  two  dollars  to  seventy- 
five  cents  each,  opens  an  easy  way  for  the  entrance  of  the  Sciopticon  into 
the  home  circle  with  charming  effect. 

PER  SLIDE,  $1.00;  PER  DOZEN,  $9.00. 


I. — FOREIGN  SERIES. 

Statuary  from  the  Marbles  in  Kensing¬ 
ton  Museum,  London. 

1  Ino  and  Bacchus. 

2  Queen  of  the  May. 

3  Maid  and  Mischievous  Boy. 

4  Pandora. 

5  The  Water  Carrier. 

6  Justice. 

7  Horticultural  Gardens,  London. 

8  Old  English  Homestead. 

9  On  the  Thames,  Richmond. 

10  Abergeldie  Castle. 

11  Sir  Walter  Scott’s  Tomb. 

12  Street  in  Venice. 

13  Grand  Canal,  Venice. 

14  St.  Mark’s,  “ 

15  Gorge  of  Pfieffers,  Switzerland. 

16  Mason  Batelier,  Ghent. 

17  Lion  of  Lucerne. 

18  View  in  the  Grisons,  Switzerland 

19  Lake  of  Lucerne. 

20  Falkness,  Tyrol. 

21  The  Matterhorn. 

22  Kappel  Bridge,  Lucerne. 

23  Interior  of  St.  Peter’s  Cathedral. 

24  East  End  of  Cathedral  at  Caen. 

25  Hotel  de  Ville,  Brussels. 

26  The  Three  Porches  at  Bayeaux. 

27  St.  Ouen’s  Cathedral  at  Rouen. 

28  Panorama. 

29  Village  of  Wesson,  Switzerland. 


30  Thun,  Switzerland. 

31  Lake  Weggis. 

32  Village  of  Weggis. 

33  Cascades,  Canton  Tessin. 

34  Bridge  on  the  Mayenbach  Pass 

of  St.  Gothard. 

II. — NIAGARA  SERIES. 
Negatives  by  Charles  Bierstadt. 

1  Point  View,  American  and  Horse 

Shoe  Falls. 

2  Terrapin  Tower,  winter. 

3  Ice  Mound  and  American  Falls. 

4  Terrapin  Tower. 

5  American  Falls  from  Pt.  View. 

6  Horse  Shoe  Falls  and  Tower 

from  Goat  Island. 

7  Ice  Bridge,  Tower  in  distance. 

8  Winter  View  from  Luna  Island. 

9  American  Falls  from  “ 

10  Ice  Bridge  and  Horse  Shoe  Falls 

11  Winter  View  from  ProspectPoint 

12  Horse  Shoe  Falls  from  below. 

13  Terrapin  Tower  from  above. 

14  Ice  Cave  under  the  Banks. 

15  American  Falls  from  Luna  Isl’d. 

16  Hermit’s  Cascade  and  first  Sister 

Island  Bridge. 

17  Horse  Shoe  Falls  from  Goat  Is¬ 

land,  winter. 

18  Under  the  Banks,  Niagara. 

19  Terrapin  Tower  from  below. 

20  Horse  Shoe  Falls  and  Rapids. 


54 


III. — WASHINGTON  SERIES. 

1  The  Capitol,  front  view. 

2  The  Capitol,  full  view. 

3  The  Senate,  exterior  view. 

4  House  of  Representatives. 

5  Treasury  Buildings. 

6  Patent  Office. 

7  Interior  of  Patent  Office. 

8  The  Post-Office. 

9  The  White  House. 

10  Equestrian  Statue  Gen.  Jackson 

IV. — MOUNT  VERNON  SERIES. 

1  The  Tomb  of  Washington. 

2  Washington’s  Mansion. 

3  View  from  Washington’s  Bath- 

Room. 

4  Ten-Sided  Barn  built  for  Wash¬ 

ington. 

5  Washington  Monument,  Rich¬ 

mond,  Va. 

V. — PHILADELPHIA  AND  VICINITY. 

1  Independence  Hall,  front  view. 

2  Independence  Hall,  interior  ‘  ‘ 

3  Independence  Bell. 

4  Studio  in  which  Gen.  Geo.  Wash¬ 

ington’s  Portrait  was  painted. 

5  Girard  College. 

6  Fairmount  Waterworks. 

7  Lincoln  Monument. 

8  Union  League  Building. 

9  The  Burd  Family  Monument, 

St-  Stephen’s  Church. 

10  Chew  House,  Germantown  Bat¬ 

tle  Ground. 

11  Washington’s  Headquarters, 

Valley  Forge. 

12  Mill-dam  on  the  Wissahickon. 

13  View  near  Valley  Green. 

14  Delaware  River,  instantaneous. 

vi. — watkin’s  glen,  n.  y. 

1  Entrance  Amphitheatre. 

2  Lower  Falls. 

3  Still-Water  Gorge. 

4  Central  View  and  Minnehaha. 

5  Cavern  Cascade  and  Long  Stair¬ 

case. 

6  Mystic  Gorge. 


7  Glen  Mountain  House  on  North 

Cliff. 

8  Cathedral  Bridge  and  Butter¬ 

milk  Falls. 

9  Central  Staircase  and.  Mammoth 

Falls. 

10  Central  Falls. 

11  Looking  down  Glen  Cathedral. 

12  Rainbow  Falls,  from  below. 

13  Rainbow  Falls  and  Triple  Cas¬ 

cades. 

14  Frowning  Cliff,  distant  view. 

15  Frowning  Cliff  and  Narrow  Pass. 

16  Gothic  Arch  of  Hope’s  Studio. 

17  Pluto  Falls. 

18  Artist’s  Dream. 

19  Elfin  Gorge  and  Fairy  Pool. 

VII. — CALIFORNIA  AND  OVERLAND 
SERIES. 

Negatives  by  Charles  Bierstadt. 
Yosemite  Valley. 

1  Inspiration  Point. 

2  Bridal  Veil  and  Three  Graces, 

from  Mariposa. 

3  El  Capitan. 

4  “  Our  Party,  ”  Yosemite  Valley. 

5  Yosemite  Falls,  2600  feet  high. 

6  Lower  Yosemite  Falls. 

7  Mirror  View  of  Yosemite  Valley. 

8  Eagle  Peak. 

9  Washington  Columns  and  South 

Dome. 

10  North  and  South  Dome. 

11  Mirror  View  of  North  and  South 

Dome. 

12  Cloud  Effect,  North  and  South 

Dome. 

13  Mirror  Lake. 

14  Liberty  Cap. 

15  Union  Peak. 

16  Mirror  View  of  Cathedral  Rocks. 

17  Grisley  Giant,  Mariposa  Grove. 

18  Fallen  Monarch. 

19  Big  Trees,  Mariposa  Grove. 

20  Mariposa. 

21  Placer  Mining  by  Chinamen. 

Overland  Route. 

22  Entrance  to  Devil’s  Canons,  Gey¬ 

ser  Springs. 


55 


The  above  cut  shows  the  exact  size  and  shape  of  the 
transparency,  mat,  glass,  and  the  binding  of  the  Wood¬ 
bury  magic  lantern  slide. 

French  plain  slides,  so  much  valued  for  their  excel¬ 
lence,  are  of  the  same  width,  but  are  a  little  shorter. 

The  disagreeable  white  sky  of  most  plain  slides  (re¬ 
lieved  somewhat  by  clouds  in  the  picture  above),  is  now 
made  beautiful  on  the  screen  by  the  blending  of  colors, 
effected  by  a  peculiar  arrangement  lately  introduced 
into  the  Sciopticon  itself. 


56 


23  Witches’  Cauldron. 

24  View  on  Summit  on  C.P.R.R. 

25  Donner  Lake,  C.P.R.R. 

26  Snow  Sheds. 

27  Mirror  View  on  Mary  Lake,  C. 

P.R.R. 

28  Summit  on  the  Sierra  Nevadas, 

10,000  feet  high. 

29  New  Tabernacle,  Salt  Lake, Utah 

30  Old  and  New  Tabernacles,  Salt 

Lake,  Utah. 

31  Salt  Lake  City,  Utah. 

32  Ogden  Canon. 

33  Weber  Canon,  U. P.R.R. 

34  Devil’s  Slide,  U. P.R.R. 

35  Pulpit  Rock,  Echo  Canon,  U.P. 

R.R. 

36  Mormon  Fortifications. 

VIII. — MISCELLANEOUS  SERIES. 

1  Old  Stone  Mill,  Newport  R.  I. 

2  Apple  Tree  in  full  blossom. 

3  Sea  Bass  weighing  45  pounds. 

4  Curious  Geological  Formation. 

5  Collection  of  Slippers  from  all 

Nations. 

6  Group  of  Antiques. 

7  Group  of  Ancient  China. 

8  Group  of  Pottery  from  Peru. 

9  Pottery  from  Herculaneum. 

10  Chinese  Idols. 

11  Mauch  Chunk. 

12  Delaware  Water  Gap. 

13  Pawnee  Indians. 

14  Peter  La  Chere,  Chief  of  Pawnees 

15  Prof.  Agassiz. 

16  Prof.  Morse. 

Moon — Negatives  by  L.  M.  Rutherford. 

17  Full  Moon. 

18  First  Quarter. 

19  Last  Quarter. 

Animals  and  Game. 

20  Portrait  of  Setter  Dog. 

21  Setter  Dog  and  Snipe. 

22  Group  of  Three  Setters. 

23  Horse’s  Head,  with  fine  effect  of 

light  and  shade. 

24  Group  of  Game. 

25  Bunch  of  Partridges. 

26  American  Rooster. 

27  Meadow  View,  Media,  Pa. 

28  A  Batrachian  Duel. 

29  Skeleton  Boquet. 


30  Sponges,  Euplectella  Speciosa. 

31  Varieties  of  Corals. 

32  Coral  Sponge  and  Star  Fish. 

33  Coral,  Paper  Nautilus. 

34  Star  Fish,  Sea  Urchins,  *&c. 

35  Concological  Specimens. 

36  Sword  Fish,  Corals,  &c. 

37  The  Hen’s  Nest. 

38  A  Basket  of  Mischief. 

39  Stanley  dressed  as  when  he  met 

Livingston  in  Africa. 

40  When  shall  we  three  meet  again? 

41  Feed  my  Lambs. 

42  Pulpit  Rock,  Wisconsin. 

43  Kinikinnick  Falls,  Wisconsin. 

44  Highland  Cottage,  Scotland. 

45  Suspension  Bridge,  Niagara. 

46  Cattle  Yards,  Chicago. 

47  Virtue  in  Danger. 

48  Virtue  Indignant. 

49  First  Parents  Tempted  (Darwin) 

50  Old  Swedes’  Church,  Philada. 

51  American  Rooster. 

52  Tower  of  London. 

53  The  Last  Load. 

54  Peace  Congress. 

55  Council  of  War. 

56  Fugitive’s  Story. 

57  Union  Refugees. 

58  Town  Pump. 

59  Charity  Patient. 

60  Dorothea. 

IX. — MICROSCOPIC  SUBJECTS. 

1  Ant  Lion. 

2  Texas  Spider. 

3  Squash  Bug. 

4  Itch  Insect,  Human,  Female. 

5  Young  Scorpion. 

6  Eye  of  Horse  Fly. 

7  Anatomy  of  the  Honey  Bee. 

8  Anatomy  of  the  Garden  Spider. 

9  Sheep  Tick. 

10  Breathing  Apparatus  of  Water 

Beetle. 

11  Proboscis  of  Blow  Fly. 

12  The  Wicked  Flea. 

13  Human  Louse,  Male,  Female, 

and  Young. 

14  Common  Bed  Bug. 

15  The  Fresh-Water  Shrimp. 

16  American  Mosquito,  Male. 

17  American  Mosquito,  Female. 

18  Blood  Corpuscles,  Human. 


57 


FOREIGN  PLAIN  SLIDES. 

Class  XLI. 


These  slides  are  now  made  specially  for  the  lantern,  of  a  greatly  im¬ 
proved  quality,  and  in  an  almost  endless  variety.  We  have  a  fine  assort¬ 
ment  of  these  slides,  but  there  is  great  difficulty  in  giving  a  satisfactory 
catalogue  of  them.  Good  selections  must  be  made  with  reference  to  quality 
rather  than  to  titles.  It  requires  a  long  time  to  replace  foreign  slides  when 
out  of  stock,  so  the  catalogue  becomes  a  very  faulty  guide  as  to  what  are 
at  any  time  obtainable. 

The  following  list  has  been  selected  from  many  thousands,  with  great 
care,  and  ordered  in  larger  quantity  in  proportion  to  their  beauty  and 
excellence. 

PER  SLIDE,  $1.00. 


I. — ENGLAND. 

1  Buckingham  Palace,  London. 

2  Ball  Room,  Buckingham. 

3  Blue  Room,  “ 

4  Drawing  Room,  “ 

5  Gallery  of  Paintings,  “ 

6  Grand  Staircase,  “ 

7  Promenade  Gallery,  “ 

8  Throne  Room,  “ 

9  Charles  Street,  London. 

10  Column  of  the  Duke  of  York. 

11  Greenwich  Hospital. 

12  Greenwich  Observatory. 

13  Horse  Guards. 

14  Mansion  House,  Lord  Mayor’s 

Residence. 

15  Panorama  of  London. 

16  Parliament. 

17  Parliament  and  Westminster. 

18  St.  Paul’s  Cathedral. 

19  Somerset  House. 

20  Tower  of  London. 

21  Trafalgar  Square. 

22  Waterloo  Place. 

23  Windsor  Castle,  London. 

24  Dining  Room,  Windsor. 

25  Reception  Room,  “ 

26  Throne  Room,  “ 


27  Castle  Street,  Liverpool. 

28  Docks,  Liverpool,  instantaneous 

29  Osborne  House,  Isle  of  Wight. 

30  Fountain  of  Venus,  “ 

31  Statue  of  Queen  Victoria,  Cor¬ 

ridor. 

32  Carrisbrook  Castle. 

33  View  of  Cowes. 

34  View  of  Ventnor. 

II. — SCOTLAND. 

1  Balmoral  Castle. 

2  Panorama  of  Edinburgh. 

3  Monument  to  Sir  Walter  Scott. 

4  Holyrood  Castle. 

5  Ruins  of  Chapel  at  Holyrood. 

6  Melrose  Abbey. 

7  Cascade  at  Inversnaid. 

8  Gorge  at  “ 

9  Lake  Katrine. 

10  Rumbling  Bridge  at  Dunkeld. 

11  Trossack’s  Hotel  and  Bene  venue 

III. — FRANCE. 

1  Panorama  of  Paris,  8  Bridges. 

2  Perspective  of  Bridges,  from  the 

Luxembourg  side. 


58 


3  Perspective  of  Bridges,  from  the 

Tuilleries  side. 

4  Port  St.  Nicholas. 

5  Colonnade  of  the  Louvre. 

6  Pavillion  of  the  Clock,  “ 

7  Assyrian  Room,  Museum  of  the 

Louvre. 

8  Egyptian  Room. 

9  Gallery  of  Paintings,  Museum 

of  the  Louvre. 

10  Statue  of  Diana,  Museum  of  the 

Louvre. 

11  Rameses,  Museum  of  the  Louvre 

12  Three  Graces,  “  “  “ 

13  Venus  de  Milo,  “  “  “ 

14  Cafe  Chantant,  Champs  Elysees. 

15  Facade  of  the  Grand  Hotel. 

16  Hotel  de  Ville. 

17  Museum  de  Cluny. 

18  New  Opera  House. 

19  Place  de  la  Concorde. 

20  Rue  de  Rivoli. 

21  St.  James’  Tower. 

22  Triumphal  Arch  du  Carousel. 

23  The  Door  “  “ 

24  Triumphal  Arch  de  l’Etoile. 

25  Fountain  Catherine  de  Medicis. 

26  “  Cuvier. 

27  “  of  the  Innocents. 

28  Palace  of  the  Corps  Legislatif. 


29  “ 

Institute. 

30  “ 

Industry. 

31  “ 

Justice. 

32  “ 

Luxembourg. 

33  Throne  Room,  Luxembourg. 

34  Royal  Palace. 

35  Tuilleries  “ 

36  Room  of  Apollo,  Tuilleries. 

37  Gallery  of  Diana,  “ 

38  Throne  Room,  “ 

39  Church  St.  Augustin. 

40  “  “  interior. 

41  Holy  Chapel. 

42  Church  of  the  Invalids. 

43  “  “  interior. 

44  Chapel  of  Tomb  of  Napoleon  I. 

45  St.  Germain  l’Auxerrois. 

46  “  “  interior. 

47  The  Madeleine. 

48  St.  Vincent  de  Paul. 

49  Trinity  Church. 

50  Lake  and  Castle  of  Pierrefonds. 

51  Castle  Maintenon. 

52  Chateau  de  Fontainbleau. 


Chateau  de  Chambord. 

Palace  of  Versailles. 

Battle  Gallery,  “ 

Glass  “  “ 

Great  Trianon. 

Gallery  of  Fine  Arts,  Trianon. 
Bed  of  the  Empress  Josephine. 
Room  of  the  Crusades. 
Panorama  of  Rouen. 

Notre  Dame,  Rouen. 

Cathedral  of  Tours. 

St.  Ouen. 

“  interior. 

Panorama  Strasburg. 

Lyons,  Perspective  of  the  Saone 
Hotel  de  Ville,  Lyons. 
Marseilles. 

Palace  of  the  Bourse,  Marseilles 
General  View  of  Havre. 
Chateau  Pau,  Pyrennes. 
Convent  ofthe  Grand  Chartreuse 
Hotel  “  “  “ 

IY. — SPAIN. 

Panorama  of  Madrid. 

Palace  Royal,  “ 

Fountain  of  Seasons,  au  Prado. 
Queen’s  Room,  Eseurial. 

Court  of  Lions,  Alhambra. 
Fountain  of  Lions,  “ 

Colonade  of  Pilate’s  House,  Se¬ 
ville. 

Fountain, Pilate’s  House,  Seville 
Palace  of  the  Duke  de  Mont- 
pensier. 

Panorama  of  Cadiz. 

Gallery  of  Statues,  Casa  del 
Labrador. 

V.— ITALY. 

Panorama  of  Genoa. 

Cathedral  of  Sienne. 

“  “  interior. 

Florence. 

Palace  Pitti. 

Tomb  of  Laurent  de  Medicis, 
by  Michael  Angelo. 

Venus  de  Canova,  by  M.  Angelo. 
Statue  of  Dante  and  Church  of 
the  Holy  Cross. 

Panorama  of  Pisa. 

Baptistery  “ 

Campo  Santo,  “ 

“  “  “  interior. 


53 

54 

55 

56 

57 

58 

59 

60 

61 

62 

63 

64 

65 

66 

67 

68 

69 

70 

71 

72 

73 

74 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 


59 


13  Leaning  Tower,  Pisa. 

14  Panorama  of  Venice. 

15  Arsenal,  Venice. 

16  Bridge  of  Sighs. 

17  Ducal  Palace,  Venice. 

18  Giant’s  Staircase,  side. 

19  “  “  front. 

20  La  Logia. 

U  Palace  of  the  Foscari. 

?2  “  Vendramin. 

03  St.  Mark’s. 

24  Facade,  Church  of  St.  Mark  s. 

25  Street  in  Venice. 

26  Rialto. 

27  Panorama  of  Rome. 

28  Arch  of  Constantine. 

29  Arch  of  Septimus  Severius. 

30  Arch  of  Titus. 

31  The  Coliseum. 

32  The  Forum. 

33*The  Forum  of  Trajan. 

34  The  Tiberine  Isle. 

35  Chateau  and  Bridge  St.  Angelo. 

36  St.  Peter’s  Church. 

37  “  “  interior. 

38  Genius  of  Death,  by  Canova. 

39  Statue  of  Moses,  by  M.  Angelo. 

40  Library  of  the  Vatican,  interior. 

41  Statue  of  Venus,  Vatican. 

42  Gallery  of  the  Bras  Neuf. 

43  Statue  of  Diana,  Vatican. 

44  “  Fortune,  “ 

45  Statue  of  Apollo  Belvidere. 

46  Perseus,  by  Canova,  Belvidere. 

47  Group  of  the  Laocoon,  “ 

48  Statue  of  Apollo,  Capitol. 

49  Gallery  of  the  Palace  Colona. 

50  Statue  of  Venus,  Villa  Borghese. 

51  Room  of  Antique  Marbles,  Villa 

Borghese. 

52  St.  Paul’s  Church,  interior. 

53  Cascade  of  Terni. 

54  Naples. 

55  Port  of  Pozzuoli. 

56  Temple  of  Serapis,  Pozzuoli. 

57  Perspective  of  the  Basilic  Pom- 

58  House  of  the  Fawn.  [peii. 

59  “  “  Musicians. 

60  “  Cornelius  Rufo. 

61  Questor. 

62  The  Way  of  the  Tombs. 

63  Triumphal  Arch  and  Forum. 

64  Villa  Diomede. 

65  Amphitheatre. 


VI.— SWITZERLAND. 

Geneva  and  Lake. 

Village  of  Chamouni. 

Cascade  of  the  Arve. 

Crevasse  Mer  de  Glace. 
Dangerous  Passage  of  the  Bossons 
Needles  of  the  Bossons. 

Ascent  of  Mt.  Blanc. 

Grand  Mulets,  Dome  of  Gouter. 
Mt.  Cervin. 

Port  of  Lucerne. 

The  Simplon. 

Valley  of  Gondo  Simplon. 

The  Muotta,  Switz. 
Grindelwald. 

Glacier  Grindelwald. 

Lake  and  Hospital,  Grimsel  Pass 
Falls  of  the  Staubach. 

Hotel  and  Castle,  St.  Gervais. 
Berne. 

Zurich. 

Fribourg. 

Castle  of  Chillon,  Lake  Geneva. 
St.  Bernard  Hospital. 

Bridge  on  the  Albule  Grisons. 
Ortenstein  Castle,  “ 

Devil’s  Bridge,  “ 

VII. — GERMANY. 

Palace  Royal,  Berlin. 

Gallery  of  Portraits,  Berlin. 
Throne  Room. 

The  Library. 

White  Chamber. 

Palace  of  the  Prince  Royal. 
Interior  of  the  Museum,  Berlin. 
The  Amazon. 

French  Church,  Berlin. 

Royal  Theatre,  “ 

Unter  Der  Linden.  “ 

Cologne,  Rhine. 

Cathedral,  Cologne. 

General  View  of  the  Cathedral. 
St.  Martin’s  Church  “ 
Cathedral  at  Bonn.  [lentz. 
Ehrenbreitstein  and  Bridge  Cob- 
Heidelberg. 

Mayence. 

Cathedral,  Mayence. 

Oberwessel. 

Pfatz,  Caub,  Gutenfels. 
Rheinstein. 

Rheinfels. 


1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 

24 

25 

26 

1 

2 

3 

4 

5 

6 

7 

8 

9 

10 

11 

12 

13 

14 

15 

16 

17 

18 

19 

20 

21 

22 

23 

24 


60 


25  Rheinfels  and  St.  Goar. 

26  St.  Goarhausen. 

27  Stolzenfels. 

28  Entrance  to  Stolzenfels. 

29  Tower  of  the  Cat. 

30  The  Cat  and  the  Lurli. 

31  The  Tower  of  the  Rats,  Bingen. 

32  Dresden,  Prussia. 

33  Wellenberg  Abbey,  Prussia. 

34  Fortress  of  Wurtzburg, 

35  Baden  Baden. 

36  Hamburg. 

37  The  Arcades,  Hamburg. 

38  Vienna,  Austria. 

39  Vienna  Exposition  Buildings. 

40  Cathedral  St.  Etienne,  Vienna. 

41  Palace  Sans  Souci,  Potsdam. 

42  Gallery  of  Pictures,  “ 

43  Passau,  Bavaria. 

44  Passau  and  the  Danube. 

45  Salzburg,  Tyrol. 

46  The  Port  of  Prague. 

47  Brussels,  Belgium. 

48  Market  Place,  Malines. 

49  Quay  of  the  Rosary,  Bruges. 

50  The  Spa,  Belgium. 

51  Amsterdam,  Holland. 

52  The  Canal  at  Amsterdam. 

53  The  Exchange,  “ 

54  Denmark.  [hagen. 

55  Thorwaldsen’s  Museum,  Copen- 

56  Statue  of  Thorwaldsen,  Museum 

57  “  Christ, 

58  “  the  Apostles.  “ 

VIII. — NORWAY  AND  SWEDEN. 

1  Panorama  of  Christiana. 

2  Royal  Palace,  “ 

3  University, 

4  Stockholm,  Sweden. 

5  Royal  Palace,  “ 

6  Cathedral  of  Upsala. 

7  Mose  Backe. 

IX.— RUSSIA. 

1  Marble  Palace,  St.  Petersburg. 

2  Winter  Palace, 

3  Theatre  of  Alexander,  “ 

4  Church  St.  Nicholas. 

5  Panorama.  Moscow. 

6  Grand  Palace  of  the  Kremlin, 

Moscow. 

7  Railway  Station,  Moscow. 

8  Foundling  Hospital. 


x.— TURKEY. 

1  General  view  of  Constantinople. 

2  New  Palace  of  the  Sultan,  “ 

3  Palace  of  Dolma  Batche. 

4  St.  Sophia,  taken  from  the  Porte. 

5  Mosque  of  Sultan  Achmet. 

6  “  “  Solyman. 

XI.  — GREECE. 

1  Ruins  of  Athens. 

2  “  “  the  Parthenon. 

3  The  Parthenon  and  Temple  Er- 

echthee. 

4  Front  of  the  Parthenon. 

XII.  — EGYPT. 

1  Cleopatra’s  Needle,  Alexandria. 

2  Pompey’s  Pillar, 

3  On  or  Heliopolis. 

4  The  Nile  Boat. 

5  Interior  of  a  Nile  Boat. 

6  Bridge  on  the  Nile. 

7  Citadel  Cairo. 

8  Street  in  Cairo. 

9  Tombs  of  the  Caliphs. 

10  Mosque  of  Amrou. 

11  Fountain  of  Ablutions,  Amrou. 

12  Mosque  of  El  Moyed,  “ 

13  Palace  of  Chonbra, 

14  “  “  Ghezireh,  “ 

15  Pyramids  and  Sphynx. 

16  Approach  to  Karnac. 

17  Karnac. 

18  Columns  of  the  Grand  Hall,  Kar¬ 

nac. 

19  Colossi  of  the  Plains,  Thebes. 

20  Colossal  Statue  a  the  Mernno- 

num,  Thebes. 

21  Phil®. 

22  Pharoah’s  Bed,  Philae. 

23  Great  Temple,  “ 

24  Sculptured  Doorway,  Philae. 

25  Temple  of  Edfou. 

26  Obelisk  and  Propylon  Luxor. 

27  Great  Temple,  Medinet  Habos. 

28  Harbor  of  Assouan. 

29  Temple  of  Dandouro,  Nubia. 

30  “  41  Dakkeh,  “ 

31  Great  Rock,  Temple  of  Ipsam* 

bul,  Nubia. 

32  Little  Temple  of  Ipsambul,  Nu¬ 

bia. 


61 


XIII.— HOLY  LAND. 

1  Jerusalem  from  Mt.  of  Olives. 

2  Church  of  the  Holy  Sepulchre. 

3  Arch, Via  Dolorosa,  Ecce  Homo 

4  Jews’  Wailing  Place. 

5  Mosque  of  Omar. 

6  Synagogue. 

7  Golden  Gate  or  Door. 

8  Damascus  Gate. 

9  Garden  of  Gethsemane. 

10  Tombs  inValley  of  Jehoshaphat 

11  Tomb  of  Absalom. 

12  Tomb  of  St.  James  and  Zacha- 

rias,  Valley  of  Jehoshaphat. 

13  Tomb  of  the  Virgin,  “ 

14  “  “  David,  “ 


15  Tombs  of  the  Kings,  Valley  of 

Jehoshaphat. 

16  Bethlehem. 

17  Rachel’s  Tomb. 

18  Women  of  Bethlehem. 

19  Hebron,  Mosque  of  Abraham. 

20  “  the  Reservoirs. 

21  Gorge  and  Convent,  Mar  Saba. 

22  The  Dead  Sea. 

23  The  River  Jordan. 

24  Bedouin  Chiefs  at  Jericho. 

25  Convent  at  Mt.  Carmel. 

26  Samaria,  Ruins  of  the  Temple  of 

Baal. 

27  Temple  of  Jupiter,  Baalbec. 

28  Temple  of  the  Sun, 


Class  XLII— Effect  Slides. 

These  slides  are  new,  beautiful,  large,  and  fine  ;  having  been  recently 
modernized  from  old  designs.  They,  of  course,  require  a  pair  of  dissolving 
lanterns. 


1  St.  Goar  on  the  Rhine. — Land¬ 

scape  at  night.  Clouds  pass¬ 
ing.  The  moon  sometimes  ap¬ 
pears  and  illuminates  the  land¬ 
scape  and  buildings.  Two 
slides.  $10.50 

2  Icebergs  in  the  Northern  Sea. — 

The  ice  is  seen  moved  by  the 
tide,  a  ship  is  seen  being  wreck¬ 
ed  by  the  iceberg.  Two  slides, 
$7.00 

3  Ship  at  Sea. — The  ship  is  seen 

under  full  sail,  the  weather  be¬ 
comes  stormy,  and  the  ship 
wrecks  on  a  cliff  under  repeated 
lightning.  The  sky  clears.  The 
Wreck  is  seen  in  the  back¬ 
ground.  The  crew  are  saved 
in  the  boats.  A  rainbow  appears 
gradually  in  the  heavens.  Five 
slides.  $15.00 

4  Interior  of  the  Cathedral  at  Co¬ 

logne,  by  day. — Night  comes 
on  gradually,  and  the  church 
is  seen  filling  with  people.  Two 
slides,  $15.00 


5  Jerusalem,  with  the  Cross  of 

Christ  in  the  foreground. — The 
cross  remains  and  the  picture 
gradually  changes  to  the  inte¬ 
rior  of  the  Church  of  the  Holy 
Sepulchre.  Then  clouds  form 
around  the  cross,  in  which  an¬ 
gels  appear.  Three  slides, 

$18.00 

6  St.  Peter’s  Church  at  Rome,  by 

day. — Night  comes  on.  The 
church  is  seen  by  moonlight, 
and  is  then  illuminated.  Three 
slides,  $13.50 

7  Summer  Landscape  in  Switzer¬ 

land. — A  cottage  in  the  fore¬ 
ground  takes  fire  and  burns  to 
the  ground.  The  ruins  are  now 
seen  by  moonlight.  Three 
slides,  $14.00 

8  A  Mill  in  England. — The  water¬ 

wheel  is  seen  in  motion,  and 
the  flowing  water  beneath. 
Winter  sets  in,  and  the  wheel 
appears  frozen  fast.  Two  slides, 
$12.50 


62 


9  Melrose  Abbey,  Scotland.  The 
rising  moon  is  seen  through  one 
of  the  windows,  ■  $5.50 

10  Stockholm  by  Moonlight. — A 

steamer  has  just  arrived,  from 
which  smoke  ascends.  The 
moon  glistens  on  the  water.  A 
boat  with  passengers  is  seen  ap¬ 
proaching  the  landing.  Three 
slides,  $9.00 

11  Porch  of  the  Cathedral  at  Mun¬ 

ster,  by  Moonlight. — The  win¬ 
dow  is  illuminated,  the  door 
gradually  opens,  the  interior  is 
seen  filled  with  people,  and 
High  Mass  is  being  performed. 
Two  slides,  $8.00 

12  The  Rocks  of  Heligoland,  by  day 

and  night. — Travelers  light  a 
fire,  the  light  from  which  is 
seen  glimmering  on  the  most 
elevated  rocks,  with  a  very 
beautiful  effect.  Three  slides, 
$11.50 

13  Trenton  Falls,  New  York. — The 

water  is  seen  pouring  over  the 
Falls  and  flowing  away;  this 
has  a  most  beautiful  effect. 
Two  slides,  $8.00 

14  Bombardment  of  Sebastopol. — 

A  frigate  steams  up  and  opens 
the  attack  by  firing  a  Colum- 
biad.  The  fort  returns  the  fire, 
and  the  bombs  are  seen  flying 
through  the  air.  Three  slides, 
$10.00 

15  St.  Petersburg  by  Moonlight. — 

The  moon  rises  and  the  glisten¬ 
ing  on  the  water  is  very  beauti¬ 
fully  shown.  Two  slides, 

$7.00 

16  Interior  of  Dining  Hall,  Holy- 

rood  Palace. — Knights  are  seen 
seated  at  the  table  drinking. 
One  of  the  knights  has  risen  and 
is  looking  out  of  the  window. 
The  moon  is  seen  rising,  and 
the  interior  is  seen  by  moon¬ 
light.  Two  slides,  $7.00 

17  Castle  on  Lago  Maggiore. — A 

lover  approaches  in  a  boat  to 
serenade,  upon  which  a  lady 
appears  on  the  balcony.  One 
slide,  $4.50 


18  Church  of  St.  Nicholas,  Ham¬ 

burg,  before  the  great  confla¬ 
gration. — The  church  is  then 
seen  on  fire  and  is  burnt  to  the 
ground  ;  the  ruins  are  seen  by 
moonlight,  and  at  last  the  new 
church  is  seen  entirely  finished. 
Four  slides,  $20.00 

19  Tower  of  London,  Day,  Night, 

and  on  Fire. — Three  slides, 
$10.50 

20  Views  in  the  Arctic  Regions. — 

Night  sets  in,  and  the  Aurora 
Borealis  is  seen  in  the  heavens. 
Three  slides,  $9.00 

21  Mosque  of  Omar,  Day,  Night, 

and  Illuminated. — Three  slides. 

$5.50 

22  Water  Mill  in  Pennsylvania. — 

The  wheel  is  seen  in  motion  ; 
a  swan  swims  on  the  water  and 
drinks ;  the  moon  rises  and 
glistens  on  the  water  ;  the  win¬ 
dows  in  the  mill  are  now  lit 
up  ;  the  ground  is  seen  covered 
with  snow,  and  the  snow  is  seen 
falling.  Five  slides,  $20.00 

23  Falls  of  Niagara  from  the  Cana¬ 

da  side,  in  the  mist  below,  a 
beautiful  rainbow  gradually 
appears.  Two  slides,  $6.00 

24  Destruction  of  Moscow — Pano¬ 

ramic  View  of  Moscow. — Twi¬ 
light  sets  in.  Moon  appears. 
View  changes  to  winter. 
Ground  is  covered  with  snow, 
and  snow  is  seen  falling,  Fire 
breaks  out  near  centre  of  city, 
and  gradually  spreads  until  the 
entire  city  is  consumed.  Five 
slides,  $25.00 

25  Destruction  of  the  First  Born. — 

View  of  an  Egyptian  City. 
Angels  appear  in  the  sky  and 
cast  thunderbolts  over  the 
heavens.  Two  slides,  $6.00 

26  Salisbury  Cathedral. — View  of 

the  Cathedral,  the  same  illu¬ 
minated  at  night.  Changing 
into  a  moonlight  view.  Three 
slides,  $8.00 

27  Faust  and  Marguerite. — Faust 

as  seen  in  his  laboratory.  Me- 
phistophiles  with  magic  bowl 


63 


in  his  hand.  Suddenly  the 
vision  of  Marguerite  appears, 
and  flames  dart  out  from  the 
howl.  Two  slides,  $8.00 

28  Star  of  Bethlehem. — Shepherds 

are  seen  seated  on  the  ground, 
and  in  the  distance  the  star  ap¬ 
pears  and  gradually  approaches 
until  the  Son  of  Man  is  seen  in 
a  halo  of  glory.  Three  slides, 
$8.00 

29  W estminster  Abbey  by  Daylight. 

— Scene  changes  to  moonlight, 
and  interior  is  seen  lighted  up. 
Three  slides,  $8.00 

30  Magician  and  Cauldron. — Cave, 

and  magician  with  his  magic 
wand — with  cauldron  in  cor¬ 
ner,  out  of  which  appears  at 
various  times,  ghosts,  witches, 
hobgoblins,  etc.,  etc.  Two 
slides,  $9.00 

31  Napoleon. — Powerful  at  the  head 

of  his  army.  Scene  changes  to 
Napoleon  powerless  on  the  bar¬ 
ren  rock  at  St.  Helena.  Two 
slides,  $8.00 

32  White  Chamber  in  the  Royal 

Palace,  Berlin,  with  the  Ghost. 
— The  best  effect  yet  produced. 
Two  slides,  $5.00 


33  Mercy’s  Dream. — Mercy  is  rep¬ 

resented  in  a  reclining  position 
beneath  a  spreading  tree.  An 
angel  from  Heaven  appears, 
and  places  a  crown  of  glory  on 
her  head.  Two  slides,  $5.00 

34  Angel  of  Peace. — A  beautiful 

landscape  showing  a  city  at 
night,  with  the  new  moon  in 
the  sky  reflected  in  the  water. 
The  figure  of  an  angel  bearing 
a  child  appears  like  a  vision  in 
the  sky,  and  then  fades  away. 
Two  slides,  $5.00 

35  The  Rock  of  Ages. — A  dark  and 

stormy  sky,  and  the  waves 
dashing  against  a  stone  cross 
(the  Rock  of  Ages),  are  here 
represented.  A  wreck  is  seen 
in  the  distance.  The  wreck 
disappears,  and  the  figure  of 
a  woman  appears  clinging  to 
the  cross.  Two  slides,  $5.00 

36  Train  of  Cars.— A  railroad  bridge 

in  a  dark  forest  is  seen  by  moon¬ 
light.  A  train  of  cars  dashes 
by,  the  headlight  and  sparks 
flying  from  the  engine  making 
a  very  brilliant  appearance. 
Two  slides,  with  movement, 

$6.00 


LANTERN  READINGS. 


We  are  now  prepared  to  furnish  Descriptive  Lectures  to  accompany  sets 
of  slides  of  the  following  subjects  : 


1  Egypt  and  the  Nile. 

2  Syria  and  Palestine. 

3  Life  and  Travels  of  St.  Paul. 

4  Pilgrim’s  Progress. 

5  Christiana  and  her  Children. 

6  Rome,  the  Capitol  of  the  Caesars 

and  the  Popes. 

7  Tour  in  Switzerland. 

8  Tour  on  the  Rhine. 

9  Paris. 

10  Ireland. 


11  China  and  the  Chinese. 

12  Astronomy. 

13  Natural  Phenomena. 

14  The  Tabernacle  and  Temple. 

In  preparation. 

15  The  Cities  of  S.  E.  Europe. 

16  The  Cities  of  N.  E.  Europe. 

17  Italy. 

18  American  Scenery  in  the  Far 

West,  etc. 


Apparatus . 

American  History, . 

American  Views, . 

Anatomy  and  Physiology . 

Anatomy,  Microscopic, . 

Astronomical  Views, . . . 

Arachnida,  Crustacea,  etc., . 

Adventures  of  Reynard, the  Sly 

Fox, . 

Birds, .  . 

Botanical  Illustrations, . 

Bottle,  The . 

Christiana  and  her  Children,... 

Chromatropes . 

Colored  Photographs  in  Series, 

Crusaders .  . 

Crystallography, . 

Dioramic  Paintings, . 

Dissolving  Views . 

Dissolving  Chromatropes, . 

Effect  Slides . 

Egypt,  Views  in, . 

Fables, . 

Flowers  and  Plants, . 

Foreign  Slides, . 

Franco-Prussian  War, . 

Geology, . . . 

Greece  and  Rome, . 

Holy  Bible,  Complete  Illustra¬ 
tion  of, . 

Holy  Land, . . 

Hymns, . 

Ill-fated  Ship, . . . 

Insects, . 


Insect  Metamorphosis, .  39 

Lantern  Readings, .  61 

Leaf  Designs, .  32 

Lever  Slides  (Comic), .  34 

Life  of  a  Country  Boy, .  24 

Lord’s  Prayer,  The, .  24 

Masonic  and  other  Lodges, .  24 

Mammalia, .  37 

Microscope  and  its  Revelations,  46 

Miscellaneous  Pictures, .  26 

Natural  Phenomena .  45 

New  Testament  Illustrations,..  8 

Nursery  Tales,  . 35 

Old  Testament  Illustrations,...  7 

Optics, .  46 

Physical  Geography, .  42 

Paintings  with  Revolving  Mo¬ 
tion, .  31 

Pilgrim’s  Progress, .  22 

Reptiles  and  Fishes, .  38 

Scientific  Department, .  37 

Schiller’s  Song  of  the  Bell .  25 

Shakspeare’s  Seven  Ages  of  Man  24 

Slip  Slides  (Comic), .  33 

Spectrum  Analysis . . .  47 

Statuary,  .  32,  49 

Stomach  of  a  Drunkard,... .  23 

Tam  O  Shanter, .  24 

Tale  of  a  Tub, .  24 

Ten  Commandments,  The, .  23 

Views  of  Interest  in  Different 

Parts  of  the  World .  17 

Views  in  Sets, conveying  Moral 
Lessons, . , .  22 


PAGE 

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25 

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35 

28 

31 

.  61 

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25 

41 

57 

21 

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,  12 

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